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Yearly Archives: 2017
Wishing everyone Happy Holidays, however you celebrate them! Merry Christmas, Happy Hanukah, Happy Kwanzaa, Happy Solstice, Happy New Year (Western and Chinese)–all and more as you wish and please. It’s a secular Christmas here: Santa Claus, reindeer and sleigh, Douglas fir tree (except this year due to the nation-wide shortage, we cut a Virginia pine locally instead), stockings hung by the chimney with care, homemade cookies, fire in the fireplace, books read to children (and to nearby listening adults), much gift giving, plus Basil Rathbone, Albert Finney, Michael Caine, George C. Scott, Mister Magoo (aka Jim Backus of Gilligan’s Island fame), Reginald Owen, and Seymour Hicks as Scrooge, plus occasional swords and sword adventure with musketeers and pirates (and dark rum left for Santa as he makes his rounds), along with the usual excellent food, drink, family, and good cheer.
That said, this is a blog and therefore a suitable place to give praise to the four swashbucklers in the image above, from the 1952 RKO film, At Sword’s Point, also released as The Sons of the Musketeers. The movie is not considered to be the best of its genre, yet is still better than most and worth watching just to see Maureen O’Hara wield a sword–and there’s more to see than just O’Hara’s swordplay and independence, although as noted she alone makes the film worthwhile.
So, from left to right…
Alan Hale Jr. as Porthos Jr.
Alan Hale Jr., a solid more-than-character actor appeared in many films but is by far best known for his role as Jonas Grumby aka “the Skipper” in Gilligan’s Island.
Hale Jr. also starred as Porthos Sr. in a 1970s version of The Man in the Iron Mask entitled The Fifth Musketeer, a film that rounded up a variety of aging actors who had starred in swashbuckling and adventure stage, film, or television, and tossed them in with luminaries such as Rex Harrison and Olivia de Havilland, with up and comers such as Beau Bridges and Ian McShane, and with the addition of Ursula Andress and Sylvia Kristel, the latter best-known for the erotic Emmanuelle films. But not even this sterling cast could hold the film together, even coming as it did on the heels of the recent Three Musketeers and Four Musketeers films.
If Alan Hale Jr. looks familiar to fans of older films, he should, for as Porthos Jr. and Porthos Sr., Hale makes an homage to his father, Alan Hale Sr., who appeared in a fair number of swashbucklers, most famously The Sea Hawk, Robin Hood, and The Adventures of Don Juan, all starring his close friend Errol Flynn. In Robin Hood he reprised his role as Little John, having first played the character in the extravagant silent version by swashbuckling film star, producer, and director Douglas Fairbanks. He took up the role again in 1950 in Rogues of Sherwood Forest. Hale, born Rufus Edward MacKahan, co-starred in several other Flynn films as well: Dodge City, Virginia City, The Private Lives of Elizabeth and Essex, and several others for a total of thirteen films.
Maureen O’Hara as Claire, Daughter of Athos
I’ll doubtless devote an entire post one day to Maureen O’Hara and her swordplay in swashbucklers. Alas, as often as she wielded a sword in a swashbuckler, she did not in another. In The Spanish Main and The Black Swan, the most successful of her swashbucklers, she had no sword-in-hand (although Binnie Barnes took up the blade admirably in the former). So, until I post a full article on O’Hara, here are a few images of the strong-willed, independent, red-headed, Dublin-born and raised actress (or actor, if you prefer):
Cornel Wilde as d’Artagnan Jr.
Born to Czech-Hungarian parents in Manhattan, Cornel Wilde often traveled with his father to Europe where he picked up several languages and, reportedly, skill at fencing. An avid and outstanding fencer, Wilde turned down membership on the US saber team for the 1936 Olympic Games in order to accept a theatrical position–a decision few fencers would ever consider making. It’s one thing to give up a potential or possible eventual position on an Olympic fencing team, quite another to give up an offered one. That said, the several actors I know with fencing experience might very choose an opportunity in the form of a middling role in film or theater over fencing in the Olympic Games, although I’m sure the decision wouldn’t be an easy one.
An accomplished actor, Wilde’s looks, swordplay, and athleticism led him to starring roles in numerous swashbucklers.
Wilde furthered his fencing study in the US under famous Hungarian-born fencing master Joseph Vince who had a studio and fencing supplier company first in New York City, later in Beverly Hills. Wilde even illustrated Vince’s book on fencing.
If I have a favorite of Wilde’s films, it is almost certainly The Naked Prey. Relegated to cult film status by many today, it is best considered as an action art film, if such a category exist. In any case, it is a minor classic (Criterion has released it), notwithstanding mixed reviews. Wilde was fifty-two when he produced, directed, and starred in the film, a physically demanding starring role for anyone, not to mention that he was ill most of the time–demands that most men even half his age probably could not have handled.
Dan O’Herlihy as Aramis Jr.
An accomplished actor who should be better known today, O’Herlihy played a variety or roles during his long career, ranging from several swashbucklers to serious contemporary roles to character pieces such as “The Old Man” in the RoboCop films.
O’Herlihy was nominated for an Oscar for his starring role in Robinson Crusoe, directed by famous-auteur-to-be Luis Buñuel.
Ever the distinguished-voiced actor’s friend: audio books.
Copyright Benerson Little 2017-2018. First posted December 20, 2017, last updated January 7, 2018.
For your perusal, a list of a handful of swashbuckling historical novels–pirates, musketeers, various spadassins and bretteurs–with engaging swordplay, even if not always entirely accurate in its depiction. If you’re reading any of my blog posts, chances are you have friends who might enjoy reading some of these books, thus my suggestion as Christmas, Hanukkah, or other gifts this holiday season.
Three caveats are in order: all of the following are favorites of mine, all are set in the seventeenth and eighteenth centuries, and all are not “all” in the sense that the list, even narrowed strictly to my favorites, is quite incomplete. Without doubt I’ll add to it every holiday season. And maybe one day a list of swashbuckling films, another of table and board games, maybe even of video games too…
Upon reflection, perhaps a fourth caveat is in order as well: simply enjoy the stories and their swordplay for what they are. Don’t be too critical, especially of the latter. Except for the case of the reader who is an experienced fencer with a strong understanding of period fencing terms and technique (far more rare than you might think), complex historical fencing scenes cannot be written simply and just as simply understood. Nor can technique and actions in general be explained sufficiently for the neophyte to understand, at least not if the writer wishes to keep the action flowing. The writer must strike a middle ground, one that won’t lose the tempo and thus the reader. This is not so easily done.
It’s possible the Moby Dick technique would work–explain and teach prior to the event–but it’s just as likely that many readers would shun this, unfortunately. For what it’s worth, Moby Dick is by far my favorite novel and I consider it the greatest ever written. It is not, however, a book for readers who cannot step momentarily away from the narrative. As I’ve discovered after the publication of two of my books in which narrative history is interspersed with analysis and explanation, there are quite a few such readers, some of whom become plaintively irate and simultaneously–and often amusingly–confessional of more than a degree of ignorance when the narrative is interrupted for any reason. To sample this sort of reader’s mindset, just read a few of the negative reviews of Moby Dick on Amazon–not those by obvious trolls but those by apparently sincere reviewers. Put plainly, using Moby Dick as a template for swordplay scenes would probably be distracting in most swashbuckling novels.
In regard to acquiring any of these enjoyable titles, note that some are out of print except perhaps as overly-priced modern print-on-demand editions. Even for those still in print, I highly recommend purchasing earlier copies from used or antiquarian dealers–there are plenty of highly affordable copies, just look around for them. Abebooks is a great place to start, but only if you have no local independent used or antiquarian bookstores available to try first. And these days, alas, there might not be any…
Why an older edition? Because the scent of an old book helps set the period atmosphere. Add a comfortable chair, a sword or two on the wall, a fireplace in a reading room or a fire pit on the beach nearby, and, if you’re of age to drink, perhaps some rum, Madeira, or sherry-sack on a side table, and you’re ready to go. Or Scotch, especially a peaty single malt distilled near the seaside, it will evoke the atmosphere of Sir Walter Scot’s The Pirate. Scotch always works.
So just sit back and let the writer carry you along. Don’t forget to imagine the ring of steel on steel and the sharp smell of ozone after an exceptionally sharp beat or parry. And if you really enjoy scenes with swordplay, there’s no reason you can’t further your education by taking up fencing, whatever your age or physical ability. If you’d rather begin first by reading about swordplay, you can start here with Fencing Books For Swordsmen & Swordswomen. And if you’re interested in how swashbuckling novels come to be–romance, swordplay, and all–read Ruth Heredia’s outstanding two volume Romantic Prince, details below.
Captain Blood: His Odyssey by Rafael Sabatini
Better known by its short title, Captain Blood, I list this first even though there’s really no significant description of swordplay, not even during the duel that is one of the best parts, of many, in the 1935 film version starring Errol Flynn. You must imagine the sword combat, yet in no way does it detract from this great swashbuckling romance that has inspired readers and writers worldwide, not to mention two major film versions (1924 and 1935). It is truly a modern classic. If you really want to judge the quality of the prose, read a few passages out loud: they’re wonderfully lyrical and evocative.
Captain Blood Returns by Rafael Sabatini
If it’s a description of swordplay in a tale of Captain Blood, you’ll have to settle for the “Love Story of Jeremy Pitt” in Captain Blood Returns, also known in UK editions as the Chronicles of Captain Blood. Great Captain Blood fare, follow up it with The Fortunes of Captain Blood.
The Black Swan by Rafael Sabatini
One of the greatest of swashbucklers whose plot leads, line after line, to a dueling climax. The 1942 film of the same name, starring Tyrone Power and Maureen O’Hara, doesn’t do the book justice, not to mention takes great liberties with both plot and character.
Fortune’s Fool by Rafael Sabatini
An embittered former Cromwellian officer reassessing his life during the early days of the Restoration–and proper use of the unarmed hand in a sword fight too!
Venetian Masque by Rafael Sabatini
A novel evoking many of the elements of my Hungarian fencing masters’ own history: spies, duels, intrigue, war, revolution, narrow escapes, and above all, courage. Plus Venice!
“With delicate precision he calculated the moment at which to turn and face them. He chose to do it standing on the lowest step of the bridge, a position which would give him a slight command of them when they charged. As he spun round, he drew his sword with one hand whilst with the other he swept the cloak from his shoulders. He knew exactly what he was going to do. They should find that a gentleman who had been through all the hazards that had lain for him between Quiberon and Savenay did not fall an easy prey to a couple of bully swordsmen…”
Scaramouche by Rafael Sabatini
“He was born with the gift of laughter and a sense that the world was mad.” Add a sword and you have Scaramouche.
To my mind, a tie with The Black Swan in regard to a novel built around swordplay, and far superior in its scope. Easily has the best–most evocative, that is–description of a fencing salle, hands down.
To Have and To Hold by Mary Johnston
Listed here primarily as representative of the genre at the time (the late nineteenth century) and because it influenced Rafael Sabatini, the novel has most of the classic clichés of the genre, including the duel for command of a pirate ship, something that never actually happened. A gentleman swordsman, pirates, Native Americans, a damsel incognita in distress… The duel takes place, as best as I can tell, on Fisherman’s Island off Cape Charles, Virginia.
Adam Penfeather, Buccaneer by Jeffery Farnol
The prequel to the following two novels, you may either love or hate the style in which it’s and the rest are written, the dialogue in particular. Even if you don’t much care for the style–I don’t much–the series are worth reading anyway for the adventure and swordplay, often including sword-armed women in disguise. Farnol will never come close to replacing Sabatini to me, but this doesn’t stop me from enjoying Farnol’s swashbucklers. And at least Farnol’s dialogue doesn’t sound like, to paraphrase a friend of mine, suburbanites chatting inanely at a PTA meeting–a problem with much dialogue in modern historical fiction and television drama.
As for swordplay, Farnol often takes the evocative approach, providing broad strokes to give a sense of the action without providing detail which might confuse non-fencers:
“Once more the swords rang together and, joined thus, whirled in flashing arcs, parted to clash in slithering flurry, their flickering points darting, now in the high line, now in the low, until Adam’s blade seemed to waver from this line, flashing wide, but in that same instant he stepped nimbly aside, and as Sir Benjamin passed in the expected lunge Adam smote him lightly across broad back with the flat of his blade.”
Non-fencing authors take note of the critical vocabulary for swordplay scenes: rang, flashing, slithering, flickering, darting, flashing…
Black Bartlemy’s Treasure by Jeffery Farnol
Great swashbuckling fare, the first part of a two novel series.
Martin Conisby’s Vengeance by Jeffery Farnol
This quote alone sells this sequel to Black Bartlemy’s Treasure: “So-ho, fool!” cried she, brandishing her weapon. “You have a sword, I mind—go fetch it and I will teach ye punto riverso, the stoccato, the imbrocato, and let you some o’ your sluggish, English blood. Go fetch the sword, I bid ye.”
The Pyrates by George MacDonald Fraser
Enjoyable parody of swashbuckling pirate novels and films, much influenced by the works of Rafael Sabatini and Jeffery Farnol. Fraser, an author himself of wonderful swashbuckling adventure, was a great fan of Sabatini.
The Princess Bride by William Goldman
Requires no description. The swordplay, like that in The Pirates above, is affectionate parody, and much more detailed than in the film.
Rob Roy by Sir Walter Scott
Excellent if mostly, if not entirely, historically inaccurate tale of Rob Roy MacGregor told through the eyes of a visiting Englishman. It has a couple of excellent descriptions of swordplay, ranging from a duel with smallswords to action with Highland broadswords.
Le Petit Parisien ou Le Bossu by Paul Féval père
I’m going to pass on Alexandre Dumas for a variety of reasons, not the least of which is that I’ll eventually devote an entire blog to him. If, however, you feel he should be represented here, The Three Musketeers series is where to begin, but you must read the entire series of novels. Be aware that many such series are actually abridged. For a slightly different Dumas take on the swashbuckler, try Georges (an exception to the seventeenth and eighteenth century rule, an almost autobiographical novel in its focus on race and prejudice) or The Women’s War (or The War of Women, in French La Guerre des Femmes). Both are favorites of mine.
Instead, I’ll suggest a great swashbuckler by one of Dumas’ contemporaries. Le Petit Parisien ou Le Bossu is a true roman de cape et d’épée (swashbuckling novel) of revenge from the which the line, “Si tu ne viens pas à Lagardère, Lagardère ira à toi!” (“If you will not come to Lagardère, Lagardère will come to you!”), has passed into French proverb. The novel has been made into film at least nine times, plus into a couple of television versions as well as several stage versions. Unfortunately, I’m aware of only one English translation, and it is excessively–an understatement–abridged. Alexandre Dumas, Paul Féval, Rafael Sabatini are the trinity who truly established the swashbuckler as a significant literary genre.
Cyrano de Bergerac by Edmond Rostand
Not a novel, but mandatory reading nonetheless, with one of the two greatest stage duels ever written, the other being that in Hamlet. Wonderful drama, philosophy in action, and sword adventure, including a duel fought to impromptu verse. Like Captain Blood, it is one of the truly inspirational swashbucklers. To be read at least every few years, and seen on stage whenever available. There are several excellent film versions as well.
The Years Between &c by Paul Féval fils & “M. Lassez”
Two series of novels of the imagined adventures of the d’Artagnan of Alexandre Dumas and the Cyrano of Edmond Rostand, filling the twenty years between The Three Musketeers and Twenty Years After in the first, and immediately following Twenty Years After in the second. The books are filled with the expected enjoyable affrays and other adventures of the genre, including the usual improbable circumstances and coincidences. The first series consists of The Mysterious Cavalier, Martyr to the Queen, The Secret of the Bastille, and The Heir of Buckingham, published in English in four volumes. The second includes State Secret, The Escape of the Man in the Iron Mask, and The Wedding of Cyrano, published in English in two volumes as Comrades at Arms and Salute to Cyrano.
The Devil in Velvet by John Dickson Carr
Fully enjoyable read about a modern history professor who travels to the seventeenth century via a bargain with the devil. The professor discovers that his modern swordplay is superior to that of the seventeenth century–a wonderful idea for a novel but otherwise flawed in reality. At best, if the professor were a “modern” epee fencer, there might be parity. But who cares? After all, who can travel back in time anyway except in the imagination? If you’re a fencer well-versed in historical fencing versus modern (again, not as many as you might think, including some who believe they are), suspend your disbelief. And if you’re not, just enjoy the novel for what it is.
Most Secret by John Dickson Carr
Pure genre by the famous mystery writer, this time entirely set in the seventeenth century. Cavaliers, spies, and a damsel in distress!
The Alatriste Novels by Arturo Pérez-Reverte
Leaping forward almost two hundred years, the Alatriste novels are a highly recommended recent series by one of Spain’s great novelists, although some critics note that the books are a bit dark. I’d call them realistic. Unfortunately, the latest of the series, El Puente de los Asesinos (The Bridge of the Assassins or The Assassin’s Bridge) has not been translated into English and doesn’t appear likely to be anytime soon, if at all, an apparent casualty of insufficient sales of the previous volumes and a reflection upon the state of the genre at the moment. That the genre should not have a larger readership given the times we live in is curious, but perhaps the audience awaits a few real-life swashbuckling heroes to reappear first. I have read The Assassin’s Bridge, but in French, and enjoyed it. My Spanish is simply not up to the task. The first six volumes are available in English translation. I also suggest The Fencing Master (El Maestro de Escrima) by the same author.
Romantic Prince by Ruth Heredia
For readers seeking to understand how written romances come to be, you can do no better than to read Ruth Heredia’s two Romantic Prince volumes: Seeking Sabatini and Reading Sabatini. The first is a biography of Rafael Sabatini, the second a guide to reading his many works, including some discussion of swordplay. Ruth Heredia is the preeminent expert on all things Rafael Sabatini. Long an officer and significant contributor to the Rafael Sabatini Society, she is a gifted writer in her right, and, in my own experience, an eloquent voice for sanity, empathy, and justice in a mad world. Originally published in now hard-to-find soft cover, her two volumes are now available in revised editions for free for personal use by requesting them from the author. You can find details at attica-ruth.
Fortune’s Whelp by Benerson Little
Last, a blatant effort at self-promotion, although I honestly did enjoy writing the swordplay scenes (not to mention working them out sword-in-hand), and I do enjoy re-reading the associated passages, or at least as much as I’m able to enjoy my own writing (the urge to revise and improve, even after publication, is quite distracting). A sequel, Fortune’s Favorite, is forthcoming, and at least another after it. Then, if all goes well, a series of prequels.
Copyright Benerson Little 2017. First published December 14, 2017. Last updated April 14, 2020.
“[B]y which Means we were in hopes to have out-sailed the Privateers, but one them still came up with us; which we were preparing to engage, when the Seamen came to me in a Body, and told me they would not fight, by Reason they said they did not understand there was any Provision made for them, in case they were wounded; that if they lost a Leg or an Arm, they must be Beggars all their Life after.”
So wrote Capt. Nathaniel Uring, commanding the “Packet-Boat” Prince George (a swift frigate used for mail, passengers, and light cargo), of his crew’s response when called upon to prepare to defend against two French privateers near Scilly in December 1707. Without disability compensation, the great danger of losing a limb in battle was not worth the risk to them, even though while in the Caribbean they had fought against a single, smaller privateer at long range. From A History of the Voyages and Travels of Capt. Nathaniel Uring, 2nd ed. (London: John Clarke, 1727).
So associated with sea battles were timber legs, that even song lyrics mentioned them:
Now, Boys, who wins a Golden Chain?
Ne’er fear a Wooden Leg.
–Anon., “The Sea-Fight, A Song,” 17th century
And indeed, between round shot, large splinters (size-wise, think various lengths of 2x4s, see damage images below), and small shot, it was not uncommon for more than one crewman to lose a leg, arm, or digits after a protracted combat, either immediately due to bone and tissue damage, or later due to gangrene:
“When [wee] came to see what damage [wee] had sustained found our Cheife Mate, Mr Smith, wounded in the legg, close by the knee, with a splinter or piece of chaine, which cannot well be told, our Barber had two of his fingers shott off as was spunging one of our gunns, the Gunner’s boy had his legg shott off in the waste[,] John Amos, Quartermaster, had his leg shott off at the helme[,] the Boatswaine’s boy (a lad of 13 years old) was shott in the thigh, which went through and splintered his bone, the Armorer Jos Osbourne in the round house wounded by a splinter just in the temple[,] the Captain’s boy on the Quarter Deck a small shott raised his scull through his cap and was the first person wounded and att the first onsett. Wm Reynold’s boy had the brim of his hatt 1/2 shott off and his forefinger splintered very sorely. John Blake turner, the flesh of his legg and calfe a great part shott away.” From the letter by eyewitnesses Solomon Lloyd and William Reynolds to Sir John Gayer describing the battle between the ship Dorrill and the pirate ship Mocha in 1697.
The most famous English surgeon of the 17th century, Richard Wiseman, wrote in his famous text on surgery that “In our Sea-fights oftentimes a Buttock, the Brawn of the Thigh, the Calf of the Leg, are torn off by Chain-shot and Splinters.”
Worse, some surgeons were too quick to amputate. Again, Richard Wiseman: “Amongst the Cruisers in private Fregats from Dunkerk, it was complained, that their Chirurgeons were too active in amputating those fractured Members [arms and legs]. As in truth there are such silly Brothers, who will brag of the many they have dismembered, and think that way to lie themselves into credit. But they that truly understand Amputation and their Trade, well know how villanous a thing it is to glory in such a work.”
Much of the origin of the idea that wooden legs were common among pirates may be due to buccaneer articles of the second half of the seventeenth century:
“Lastly, they stipulate in writing what recompense or reward each one ought to have that is either wounded or maimed or maimed in his body, suffering the loss of any limb, by that voyage. thus they order for the loss of a right arm 600 pieces-of-eight, or 6 slaves; for the loss of a left arm 500 pieces-of-eight, or 5 slaves; for the right leg 500 pieces-of-eight, or 5 slaves; for the left leg 400 pieces-of-eight, or 4 slaves; for an eye 100 pieces-of-eight, or one slave; for a finger of hand the same reward as for the eye.” (Alexandre Exquemelin [John Esquemeling], The Buccaneers of America. London: Crooke, 1684.)
A copy of flibustier articles dating to 1688–“Copie de la charte-partie faite entre M. Charpin, commandant la Sainte-Rose“–includes the following article: “Item. Tout homme estropié au service du bâtiment aura 600 pièces de 8 ou 6 nègres a choix s’il s’en prend.” The injured, whether he lost an arm or leg, had the choice of six hundred pieces-of-eight or six slaves.
Similarly, writing of the year 1694, Caribbean chronicler Father Jean-Baptiste Labat noted that among French flibustiers, “Ceux qui sont estropiez du’un bras ou d’une jambe emporteé, ou rendu inútiles, ont six cens écus pour chaque membre…” That is, six hundred pieces-of-eight for the physical loss of an arm or leg, or of the use of it. The original buccaneer and flibustier articles were still in use even though true English buccaneering had disappeared and French buccaneering–la flibuste–would not last much longer. (Jean-Baptiste Labat, Voyage aux Isles, 1722, vol. 1:22.)
It is important to point out that buccaneers were not the originators of this compensation. It was often part of merchant seamen agreements, and usual among navies as well. For example, in 1685 in the English navy, the “Chatham Chest” for pensioners would pay an annual stipend of 6 pounds, 13 shillings, and 4 pence for the loss of an arm or leg, and twice that for the loss of two legs. For the loss of two arms, 15 pounds per annum, for the loss of the use of an arm (but not the loss of the arm itself), 5 pounds, and for the loss of an eye, four pounds. (From A Descriptive Catalogue of the Naval Manuscripts in the Pepysian Library at Magdalene College, Cambridge, vol. 1.)
But back to pirates! Charles Johnson (a pseudonym), famous chronicler of pirates in the early eighteenth century, describes one of the pirates of Captain Edward England: “a Fellow with a terrible pair of Whiskers, and a wooden Leg, being stuck round with Pistols, like the Man in the Almanack with Darts, comes swearing and vapouring upon the Quarter-Deck, and asks, in a damning Manner, which was Captain Mackra…” From A General History of the Pyrates (London: T. Warner, 1724).
So here is at least one “Golden Age” pirate with a wooden leg. Doubtless there were at least a few common seamen and mates, perhaps some of them pirates as well, who remained at sea in spite of disability. Naturally, such service was easier for officers, the most famous one being Cornelis Corneliszoon Jol, aka “Pie de Palo.” A privateer captain, later admiral, in the service of the Dutch West India Company in the first half of the seventeenth century, one of his subordinate captains was the famous Diego the Mulatto. Another famous wooden-legged admiral was Blas de Lezo y Olavarrieta who successfully defended Cartagena de Indias from English attack in 1741. Early in his sea-going career he lost an eye, a leg, and the use of an arm from wounds received in battle.
The reality, though, is that the loss of a leg ended the career of most common seamen, including sea rovers. In most cases a common seaman who had lost a lower limb or was otherwise lamed could no longer climb aloft, and if he could it was only with great difficulty. A seaman needed to be able to move quickly on deck and aloft aboard a platform that was constantly pitching, sending, rolling, and yawing. Boarding actions would be precluded, as would a number of other combat actions, although certainly there were some that a wooden leg would not entirely restrict.
The naval, or more generally, maritime profession most suited to disabled seaman was doubtless the ship’s cook, and there are a number of period illustrations showing sea cooks with one legs, although “greasy” is probably the most commonly applied adjective.
However, the most famous of these one-legged sea cooks never existed. Created by Robert Louis Stevenson for Treasure Island, Long John Silver, also known as Barbecue, epitomizes the modern idea of the iconic one-legged–but not wooden-legged–pirate, although he was probably inspired by Captain England’s wooden-legged pirate crewman described above. In fact, Stevenson’s original title was “The Sea Cook”–a subtly accurate title but one entirely lacking in romance and adventure.
Early in the book Billy Bones, the old rum-soaked pirate inspired, according to Stevenson himself, by the old buccaneer in “Tales from a Traveller” by Washington Irving, asks Jim Hawkins to keep his “weather-eye open for a seafaring man with one leg.”
Stevenson imagines accurately how he might move about at sea. “Aboard ship he carried his crutch by a lanyard round his neck, to have both hands as free as possible. It was something to see him wedge the foot of the crutch against a bulkhead, and propped against it, yielding to every movement of the ship, get on with his cooking like someone safe ashore. Still more strange was it to see him in the heaviest of weather cross the deck. He had a line or two rigged up to help him across the widest spaces—Long John’s earrings, they were called; and he would hand himself from one place to another, now using the crutch, now trailing it alongside by the lanyard, as quickly as another man could walk. Yet some of the men who had sailed with him before expressed their pity to see him so reduced.”
But Long John Silver is not the only iconic fictional seafarer. There’s an unfortunate natural inclination to believe that anything maritime must therefore be pirate, and worse, must be predominately pirate. Ahab’s “wooden” leg–actually whale bone–at least subconsciously reinforces the notion that pirates often had wooden legs. Ahab, of course, was the ship’s captain, and therefore special arrangements could be made for his disability, unlike in the case of common seamen.
And what did prosthetics and crutches look like in this era? The following images show the variety, based on the extent of permanent injury. The fact that the majority of wooden legs in period images begin just below the knee is due to surgical practice at the time. As “Serjeant-Chirurgeon” Richard Wiseman explains it in Several Chirurgicall Treatises (London: E. Flesher and J. Macock, 1676):
[Speaking of bullet wounds here], “If the Ancle be thus maimed, you shall then cut off the Leg within three or four Fingers Breadth under the Knee, in regard so long a Stump would be troublesome. But if the Leg be shattered off by the Calf, do not put your Patient to the Pain of new Amputation, for the shortening it a Hand’s Breadth, or a little more. Save what you can of a fluttered Hand. And if the Toes, with Part of the Foot, were shot off, cut off the lacerated Parts smooth, but with Care to save as much of the Foot, with the Heel, as you can; it being much better than a Wooden Leg. But if the Arm or Leg be not so shattered, tho’ the Wound be large on one side, and hang gaping down with great Fracture of Bones, yet be not discouraged, the Largeness of the Wound will make for your better pulling out those extraneous Bodies, Shivers, Splinters, Rags, or ought else, and for the easier Discharge of Matter. Dress it as a Wound by a Splinter.”
Similarly, Dr. Benjamin Bell in A System of Surgery, 5th ed., vol. 4 (Edinburgh: Bell and Bradfute, 1791), writes that “In amputating the thigh we observed, that as much of the limb should be saved as can be done with propriety; for the longer the stump the more utility is derived from it: But in the amputation of the leg, it has hitherto been almost a general rule to take it off a little below the knee, even where the disease for . which it is advised is seated on or near the ancle, and where accordingly the operation might be performed much lower. The reason given for this is, that a few inches of the leg being saved, answers as a sufficient rest to the body in walking when the limb is inserted into the box of a wooden leg; and when much more of it is left, that it proves troublesome both in walking and fitting, without being attended with any particular advantage.”
However, times were changing and with them surgical and prosthetic practice. Bell goes on to note that, “Were we to conclude, that the common practice of bending the joint of the knee and resting upon the anterior part of the leg was necessary, this method of operating a little below the knee would be admitted as the best: But as we have now had many instances of patients walking equally well with machines so contrived as to admit of the use of the knee-joint; as these machines, by resembling the human leg, are much more pleasing to the eye than the wooden ones in common use; and as the operation may be done with much more ease and safety to the patient a little above the ancle, I am of opinion that it should always be advised to be done here whenever it is practicable, instead of the ordinary place a little below the knee.”
Below are a few images of what leg prostheses looked like in the era. Not that many of the men in these images are depicted as beggars, for, as Capt. Uring’s men noted, without some sort of pension they would likely become so if they lost a limb.
I’ll close with a few images of Hollywood wooden-leg or one-leg pirates, thanks (Thanks, Antón!) to a suggestion by Antón Viejo.
Copyright Benerson Little 2017-2019. Created 4 December 2017. Last updated March 6, 2019.
“The tame Parrots we found here were the largest and fairest Birds of their Kind that I ever saw in the West-Indies. Their colour was yellow and red, very coarsely mixt; and they would prate very prettily; and there was scarce a Man but what sent aboard one or two of them. So that with Provision, Chests, Hen-Coops, and Parrot Cages, our Ships were full of Lumber…”
–William Dampier, Voyages and Discoveries, 1729
The opening quotation is in reference to a small buccaneering raid on Alvarado on the Mexican coast in 1676. So, clearly at least some pirates did have parrots, although most of these birds were probably intended as plunder to be sold in Port Royal, Jamaica.
The ultimate origin, though, of pirates and parrots is the common one: the lure of exotic animals, the seaman’s access to them during his travels, and the market for them in Europe and the American colonies. It was therefore not at all unusual to find exotic birds and primates (other than humans, of course) aboard ships headed back to Europe, nor was it unusual for people in the American colonies to keep them as pets, as did many Native Americans. Seamen were the best-placed Europeans to acquire them.
The description below is but one of many typical merchant voyages, in this case described by the Italian Capuchin monk Denis de Carli during his 1667 voyage from Bahia de Todos os Santo, Brazil, to Lisbon, Portugal.
“The ship was like Noah’s ark, for there were aboard it so many several sorts of beasts, that what with the noise, and the talk of so many people as were aboard, we could not hear one another speak. The loading was a thousand chests of sugar, three thousand rolls of tobacco, abundance of rich wood for dying, and making of cabinets, elephants teeth; besides the provision of wood, coals, water, wine, brandy, sheep, hogs, and turkeys: besides all this, abundance of monkeys of several sorts, apes, baboons, parrots, and some of those birds of Brasil, which they call arracas [the urraca, or plush-crested jay].
Exotic birds, parrots in particular, along with monkeys have long been associated with the tropical Americas and are often depicted in representative or allegorical images of the peoples, fruits, and animals from this part of the world.
Parrots as Pets in the Old World
In Shakespeare we see just how common parrots had become in England, and for that matter, in Europe in general: “That ever this fellow should have fewer words than a parrot, and yet the son of a woman!” exclaims Henry, Prince of Wales, in The First Part of Henry the Fourth. Below are a few images from the late seventeenth century of people posing with parrots, a quite common practice–at least for those who could afford portraits.
Published in 1719, The Life and Adventures of Robinson Crusoe, of York, Mariner, by Daniel Defoe re-established what was already fact: that some seamen did in fact keep parrots as pets. Robinson, plaintively calling to himself after two years marooned on the island, is answered by his parrot, Poll (Polly, anyone?), feared lost during the shipwreck. The fictional shipwrecked mariner, likely inspired by marooners Alexander Selkirk and Will (or William), a Miskito Native American, captured two more parrots and taught them to speak as well. The marooners who inspired Defoe were each associated with sea roving: Selkirk was a self-marooned privateer, and Will was an accidentally marooned “striker” (a hunter and fisherman) in a buccaneer crew committing piracy (ergo, a pirate crew).
But it’s the trope of pirates and parrots we’re really concerned with for the moment, and the modern association of parrot with pirate, as opposed to parrot with common seaman, or even parrot with privateer, is almost entirely due to Robert Louis Stevenson’s Treasure Island, specifically to Long John Silver and his parrot Cap’n Flint, who would often scream, “Pieces of eight! pieces of eight! pieces of eight!”
But because of the modern cliché of the pirate and parrot, no matter how accurate, some pirate television dramas, reenactor groups, and video games may choose to avoid it altogether. Black Sails did, for example (full disclosure, I was the historical consultant for the show for all four seasons). That said, this can be a bit confusing: Black Sails was set as a prequel to Treasure Island, the book that did much to create the pirate and parrot image. It comes down to a question of balance between accuracy and audience perception. I remain convinced that it is possible to quash cliché with historical accuracy without losing the audience.
So, how prevalent was the pirate with parrot in reality? Probably as common as that of the seaman his parrot, as least among pirates who visited regions where parrots were native, or captured ships with them aboard.
(And Monkeys, Too?)
So back to the beginning with another version of the image at the top of the page. But it’s the monkey we’re interested in now, and clearly monkeys were associated with seamen for the same reason parrots were.
So, did pirates have pet monkeys? Probably some did, given the mariner’s access and the popularity of monkeys. Certainly, at least one sea rover is confirmed as having a monkey aboard: a young Barbary macaque was aboard the French privateer Dauphine when it wrecked in Saint-Malo in 1704, as marine archaeology has demonstrated.
Pet Monkeys in the Old World
Monkeys were popular pets in Europe, thus the maritime trade in them. They were often fitted with a belt around the waist in order to keep them on a tether or leash as necessary. This may have been done shipboard as well–it would save waiting until the monkey to get hungry before it came down from aloft, as it doubtless would sooner or later.
Monkeys in Pirate Films and Other Media
Monkeys, being active, cute in an impish way, and generally in trouble, not to mention with a historical basis at sea, not to mention part of the crew, so to speak, of at least one privateer crew and probably of a fair number, are perfect for Hollywood piratical swashbucklers. That said, they haven’t been much used in them, but then it doesn’t take much for an association to get started and soon enough a cliché to develop. The most noted, of course, are King Charles in Cutthroat Island (if nothing else, Geena Davis looked swashbucklingly effective in the role of Captain Morgan Adams, and the soundtrack is excellent), and, far more well-known, Jack in the Pirates of the Caribbean films.
Pirate monkey memes are common, the Monkey Island games riff on pirate monkeys although without much emphasizing them, and even Firelock Games has, purely for fun and originally introduced as an April Fool’s joke, added a “Blunder Monkey” figure as a stretch goal for the Blood & Plunder’s “No Peace Beyond the Line” Kickstarter, albeit an historically accurate one. (Again in the interest of full disclosure, I’m the historical consultant for Firelock’s Blood & Plunder.)
A Scots Highlander, a Sword, and a Parrot…
I’ll end with a humorous anecdote, which may be apocryphal, regarding a Scotsman and a parrot in London. I can date it no earlier than 1749 and cannot say whence came the abusive bird originally, but it does illustrate the general prevalence of the birds everywhere:
“An honest Highlander, walking along Holborn, heard a voice cry, Rogue Scot, Rogue Scot; his northern blood fired at the insult, drew his broad sword, looking round him on every side to discover the object of his indignation; at last he found that it came from a parrot, perched in a balcony within his reach; but the generous Scot disdaining to stain his trusty blade with such ignoble blood, put up his sword again, with a sour smile, saying, “Gin ye were a man, as ye’re a green geuse, I would split your weem.”
Copyright Benerson Little 2017. First posted September 10, 2017. Last updated 9 September 2020.
It’s a simple question: Did pirates have tattoos? And the answer is simple, too–and complex as well.
Evidence for the simple positive answer is easy: buccaneer-surgeon Lionel Wafer, writing probably of the 1680s, noted that “One of my Companions desired me once to get out of his Cheek one of these imprinted Pictures, which was made by the Negroes, his Name was Bullman; which I could not effectually do, after much scarifying and fetching off a great part of Skin.” (Lionel Wafer, in A New Voyage & Description of the Isthmus of America. Oxford: Hackluyt Society, 1934, page 83.)
What Wafer was trying to do was surgically remove a “gunpowder spot,” as tattoos were then known in English. The term came into use via the process: prick holes in the skin and rub finely crushed gunpowder in to make a permanent mark. A simple enough process, not much different than that used by professionals today, and pretty close to those who use a homemade process (not recommended, of course).
So, without further analysis or discussion, we know that at least one late seventeenth century buccaneer was tattooed. What we do not know is whether such gunpowder spots were considered part of sea roving or maritime culture. In other words, did pirates or other seafarers view tattoos as identifying marks of their trade?
We also know that at least some other seamen of the era were well-inked: one “saylor” in 1720 Virginia had “on one hand S. P. in blew Letters and on the other hand blew Spots, and upon one arm our Savior upon the Cross, and on the other Adam and Eve, all Suppos’d to be done in Gun powder.” (The American Mercury, 17 March 1720, no. 13.)
Others are known as well, close enough to our period (circa 1655 to 1725) to be relevant. My thanks to maritime historian David Fictum, preeminent student of English maritime clothing in this period (you can look him up on Facebook), for providing me with these two instances:
From The Virginia Gazette, September 22 – 29, 1738: “RAN away from the Subscriber, in Caroline County on the 27th of August last, a Convict Servant Man, named John Coleman, alias, John Nabb…[he] has these 3 Letters on one of his Hands, I c M, but cannot be certain they stand thus; and has on one of his Arms, the Picture of our Saviour on the Cross…[He] has been a Sailor.”
And from The American Weekly Mercury, June 24 – July 1, 1736: “RAN-away from Patrick Creagh and William Medcalf, of the City of Annapolis in Maryland, on the 17th of May 1736 Three Servant Men, Viz. John Thomas, belonging to the said Creagh. He is a Ship-Carpenter or Caulker by Trade…I think he was mark’d on one of his Arms with some Letters & the resemblance of our Savoir, and on the other with Adam & Eve.”
Buccaneer, naval captain, privateer, world explorer, naturalist, and author William Dampier wrote of European tattooing while describing the manner of tattooing at Meangis, Indonesia during his circumnavigation of the world after a South Sea buccaneering voyage:
“By the Account he [Prince Jeoly] gave me of the manner of doing it, I understood that the Painting was done in the fame manner, as the Jerusalem-Cross is made in Mens Arms, by pricking the Skin, and rubbing in a Pigment. But whereas [gun] Powder is used in making the Jerusalem-Cross, they at Meangis use the Gum of a Tree beaten to Powder…” (William Dampier, A New Voyage Round the World, volume 1:514. London: James Knapton, 1699.)
Dampier’s description of the Jerusalem cross alludes to Christian pilgrims whose tattoos often served to ensure Christian burial in foreign lands, as well to create a permanent “souvenir” or proof of pilgrimage. Constantin-François Volney in the late eighteenth century described these pilgrims and their journeys to and from Jerusalem:
“Easter over, each returns to his own country, proud of being able to rival the Mahometan in the title of Pilgrim, nay, many of them, in order to distinguish themselves as such, imprint on their hands, wrists, or arms, figures of the cross, or spear, with the cypher of Jesus and Mary. This painful, and sometimes dangerous, operation is performed with needles, and the perforations filled with gunpowder, or powder of antimony, and is never to be effaced. The Mahometans have the fame practice, which is also to be found among the Indians, and other savages, as it was likewise among several ancient nations with whom it had a connection with religion which it still retains wherever it prevails.” (From Travels through Syria and Egypt, in the years 1783, 1784, and 1785 by Constantin-François Volney. London: G. G. J. and J. Robinson, 1787, pages 311-312.)
This practice had apparently been around for centuries prior, and was probably picked up in the Middle East. It is quite likely that Christian seamen in the Mediterranean often had religious tattoos, if only to identify themselves as Christian in case of drowning or other death during their travels. More on this in a moment.
Pirates, mariners, and marooners who had lived among Native Americans were sometimes inked, and Native American and African mariners were probably often inked. Those who hailed from certain lands in the Mediterranean or in the East beyond were likewise probably often inked as well.
Lionel Wafer, while recovering among the Darien (Cuna) after burning himself severely when drying gunpowder, noted that “I went naked as the Salvages [sic], and was painted by their Women; but I would not suffer them to prick my Skin, to rub the Paint in, as they use to do, but only to lay it on in little Specks.” He described the process further: “But finer figures, especially by their greatest artists, are imprinted deeper, after this manner. They first with the Brush and Colour make a rough Draught of the Figure they design; then they prick all over with a sharp Thorn till the Blood gushes out; then they rub the place with their Hands, first dipp’d in the Colour they design; and the Picture so made is indelible. But scarce one in forty of them is painted this way.” (Wafer, op cit, pages 22 and 83.)
Two French seamen, one from Brittany, the other from La Rochelle, who had been members of the sieur de La Salle’s failed Texas colony, survived by living among a Native American tribe. In 1687 both men had “[T]heir Faces and Bodies with Figures wrought on them, like the rest [of the people they were living with].” In the same year a Spanish boy from Mexico, who had escaped on the Gulf Coast with other Spanish prisoners captured by buccaneers at Apalache, Florida, survived likewise by living with a Native American tribe. The boy, when found by Spanish Capitáns de Mar y Guerra Don Martín de Rivas and Don Pedro de Yriarte who were looking for La Salle’s colony, had tattoos like those of the people among whom he was living. (See Henri Joutel, The Last Voyage Perform’d by La Salle. London: A. Bell et al, 1714, page 173. And Enríquez Barroto, “The Enríquez Barroto Diary,” in Weddle, La Salle, the Mississippi, and the Gulf, 1987, page 180 &c.)
The evidence of Bullman above and other records as well indicate that at least some Africans were also tattooed, although most historians studying the subject note that scarification and similar processes were more common among Africans than tattooing. There were sea rovers of African origin in the Caribbean.
There is a general consensus among some researchers that the tattoo has long been a part of maritime culture, while others are hesitant to make this argument. Certainly it was a distinct part of maritime culture in the nineteenth and twentieth centuries, and is today as well, although possibly to a somewhat lesser extent. In 1900, US Navy surgeon A. Farenholt discussed the number and variety of tattoos of seamen aboard the USS Independence, and made some observations on tattooing in the navy in general. He estimated that roughly sixty percent of enlisted sailors had tattoos, with roughly one quarter of seamen in their first enlistment having them, and roughly half in their second enlistment having them. He noted that the forearm was the most popular location for tattooing among the Independence sailors, and the penis the least, with only seven instances of the latter. For readers who thought that penis tattooing was a modern curiosity, please be advised that there is not much that is really new. (See A. Farenhold, “Tattooing in the Navy, as Shown by the Records of the U.S.S. Independence.” United States Medical Bulletin, vol. 2, no. 1 (January 1900): 37–39.)
N.B. David Fictum, noted above, recommends Ira Dye, “The Tattoos of Early American Seafarers, 1796-1818,” in Proceedings of the American Philosophical Society 133, no. 4 (1989), as an excellent source that helps put tattooing and seafarers in context.
In my most recent book, The Golden Age of Piracy: The Truth Behind Pirate Myths, I wrote the following, based on current general understanding, at least among a number of authorities published in English: “But the tattoo as a definite part of maritime culture probably did not exist until seamen began visiting Polynesia in the late eighteenth century.”
However, the images by Louis Ducros at the top of the page and just below clearly belie this. It may be that in the English navy and merchant marine, and in the American as well, tattoos did not become popular, in particular as an identifying mark or rite of passage, until after voyages to Polynesia became more regular (and from here we have the word “tattoo”), but clearly this was not the case among seamen of other nationalities, at least of those from Taranto. And this may not have been the case among English and American seafarers either. Further, it is entirely possible, even probable, that the degree tattooing was purely cultural–and culture changes over time. For example a Ducros watercolor of several Maltese seamen shows no tattoos on their arms, although it’s possible he simply chose not to depict them.
In the image at the top of the page we see the tattooed arm of an Italian seaman from Taranto in 1778. Tattoos belonging to other seamen are also shown, and also immediately above, with some dating to the 1760s, clearly before the British voyages to Polynesia. As one might expect, the tattoos are a variety, with Roman Catholic religious imagery quite prevalent. There is also a small vessel, possibly a tartana or “tarteen” under oars, a couple of suns, a possible set of arms, a chain around the wrist, and a Jerusalem cross.
Adding to the difficulty in answering the question of tattoos among seafarers of the period is the fact that people other than seafarers had “gunpowder spots” in the late seventeenth and early eighteenth centuries, ranging from the lubberly working class to upper class ladies–yes, ladies–and gentlemen.
Among working class examples, David Willson, a deserter from the British army in 1715, was described as having his initials “D. W.” in gunpowder on his right hand. We don’t whether he came by his gunpowder spot while serving in the army, or prior to service, or afterward. (London Gazette, 10 September to 17 September 1715, no. 5363.)
Among “ladies and gentlemen,” Thomas Otway’s Beau in act 4 of The Soldiers Fortune (1681) catalogs the “Age, Shape, Proportion, colour of Hair and Eyes, degrees of Complexion, Gun-powder Spots and Moles” of the “choicest Beauties about Town.”
Aphra Behn, famous poet, playwright, and novelist, writes of “a Blew spot made in a Ladys neck, by Gunpowder…” The poem was published in Lycidus or the Lover in Fashion (London: Joseph Knight, Saunders Francis, 1688), and was attributed to “a Person of Quality.”
I note as an aside that one scholar has asserted that “gunpowder spots,” including the one described by Aphra Behn, were associated with seventeenth century English gun culture. I think this is a rather misplaced notion, except in that the origin of tattooing with gunpowder may have derived from the knowledge that un-burned corns of powder will occasionally embed themselves violently in the skin, leaving a permanent mark. (One pirate re-enactor, who has since passed away, I met on the set of True Caribbean Pirates had a tattooed palm–small blue-black dots everywhere–resulting from the premature ignition of a gun cartridge during loading.)
The other remote connection to gun culture is common poetic allusion or comparison–an obvious poetic convenience, in other words. The ultimate origin of “gunpowder spots” is not firearms, but body marking: gunpowder simply worked well to make a permanent stain and was readily available. Beauty marks on men and women of the era did not imply an association with firearms, and to argue this is to stretch beyond the facts, not at all uncommon today in both common popular discourse and academia. Even Aphra Behn in her poem acknowledges that the tattoo really has nothing to do with firearms except as a convenient poetic comparison:
Powder, which first was for destruction meant,
Was here converted into ornament;
But yet retains its wonted nature still,
And from your neck, as from a Port do’s kill.
Similarly, William Wycherley in his poem “Upon the Gun-powder Spot on a Lady’s Hand” published in 1704:
Thy Gun-Powder, on thy Hand, shot
Me dead, half-dead with Love before;
Kill’d me, both on, and by the Spot,
Thy cruel White Hand on it wore:
Seventeenth-century surgeon Richard Wiseman had experience with gunpowder spots of two sorts: “Only if they be burnt with Gun-powder or any other way, their Cure is much alike, they onely differing secundam magis and minus. Onely if they be burnt with Gun-powder, they must pick out the Powder first; else they will carry the same blew Mark, if it be in their Faces, which some people use to do in their Hands and Arms, which I have often been imployed to take out, when done wantonly in their Youth; but could never remove them otherwise then by taking off the Skin.” (Richard Wiseman in Several Chirurgicall Treatises. London: E. Flesher and J. Macock, for R. Royston, 1676, page 440.)
Clearly not everyone, ranging from a buccaneer to others, wanted to keep their tattoos forever.
We come again, and importantly, to playwright and poet William Wycherley who wrote The Plain-Dealer (for what it’s worth, my favorite play), first performed in 1674:
“[O]r was it the Gunpowder spot on his hand, or the Jewel in his ear, that purchas’d your heart?” sneers the manly Captain Manley (act. 2, sc. 1) to his former inamorata in regard to an obnoxious fop (they’re all obnoxious, aren’t they?) seeking her hand. At first glance it seems that Manley might be sarcastically referring to the lack of a gunpowder spot on the fop’s hand, and therefore that such spots were indicative of the seaman and therefore of the adventurer. Captain Manley, after all, was a fighting seaman. (Regarding the “Jewel in his ear” see Pirates & Earrings.)
John Dickson Carr, novelist and historian, would seem to have agreed with my initial assessment of the gun-powder spot on the hand being a sign of the seaman: he writes in his novel Devil in Velvet, “as much the mark of the seaman as the gunpowder spot on his hand…,” almost certainly inspired by Wycherley in The Plain-Dealer. The depth of Carr’s non-fiction research ability is attested to by his nonfiction The Murder of Sir Edmund Godfrey. However, we were both assuredly in error: Professor Ted Cotton, retired Professor Emeritus of English Literature from Loyola University in New Orleans, not to mention old friend and fellow swordsman, in conversation with me some years ago suggested the lines refer merely to the earring and gunpowder spot as being fashions of idle foppish gentlemen. Add to this the evidence of ladies and gentlemen with gunpowder spots, and it is certain to me now that the lines in The Plain-Dealer refer to a gentleman, not a seaman.
Of course, none of this goes to prove or disprove whether late seventeenth to early eighteenth century seamen associated with the Golden Age of Piracy–English, French, Dutch, Spanish, Africans, Native Americans, various mixed races of various nationalities, and in smaller numbers Portuguese, Corsicans, Levanters, Italians, Danes, Germans, various other Europeans, even a few Asians–specifically associated tattoos with their maritime culture, much less did pirates and other sea rovers, a subset of the former, do so.
It remains possible that some Western European mariners, including sea rovers, considered “gunpowder spots” as part of their tradition, but there is no conclusive evidence for this for the period in question. Certainly it is true today: for example, Navy seamen and tall ship sailors often get tattoos and consider this to be traditional, even as do members of some other groups, military and non-military, as do some “downright individuals.” Permanent body decorating has been around for a very long time among the majority of cultures past and present.
So, best guess for the Golden Age of Piracy? Although some sea rovers of the era had tattoos, tattooing–and it would not be known by this name for roughly another century–was not yet a practice of group identity among them or of other mariners broadly associated with this era. Of course, I could be wrong: we need more evidence than what we have so far. But the evidence of Dampier, Wafer, and Wycherley strongly suggests that tattoos or gunpowder spots were not yet a distinct part of Western European maritime culture, except possibly among some of the regional maritime sub-cultures.
And before anyone asks or suggests this: no, I don’t think it likely that early eighteenth century pirates had skull and bones tattoos!
Post Script: This blog post is dedicated to my younger daughter, Bree, a tall ship sailor in her spare time and who will soon have a tattoo…
Copyright Benerson Little 2017-2018. Last updated January 28, 2018.
“This subterfuge is termed a Night-Thrust; being a short method of deciding a skirmish in the dark.”
–Andrew Lonergan, The Fencer’s Guide, 1777.
But Edward was no longer there, or at least not where Lynch expected. Completely covered by the inky darkness, Edward had lunged backward, his left hand dropping to the ground, his body bending inward, his blade shooting forward at Lynch’s belly: the Italians called this passata soto, but some of Edward’s English contemporaries called it the “night thrust” for its utility in the darkness.
Benerson Little, Fortune’s Whelp, 2015
The Classic Passata Soto or “Night Thrust”
A staple of many Western fencing texts since the Renaissance, the passata soto, or passata sotto, also known variously as the sbasso, sottobotta, cartoccio on occasion, the various dessous of the French masters of the smallsword and the passata di sotto of the modern, is usually defined as a counter-attack made by lowering the body while simultaneously thrusting, extending the rear foot in a reverse lunge, and placing the unarmed hand on the ground for support. Occasionally the technique is recommended as an attack with a true lunge, rather than a reverse, made. Andrew Lonergan provides an eighteenth century definition and exercise of the passata soto under the name of night thrust:
“On Guard in Quarte; and disengage a Quarte-over-the-arm [modern sixte]. I now batter [beat] with a Tierce; and begin to advance my left foot to form my Pass upon you in Tierce. Now when you see my left foot move, slip your left foot back, so as to pitch yourself on that knee; stoop your head so that your arm now turned into a Segonde may cover it, hold your left hand extended toward the ground, that it may sustain you, in case you should totter; thus my point will pass over your head, and I shall fall upon yours.”
And his reasoning why such “athletic” techniques should not be abandoned:
“Though these methods of Disarming, and Passing, Volting, and that of the Night Thrust, seem to be almost abolished by the refiners of these arts; I cannot conceive why a man, who is naturally strong and active, should not avail himself of such advantages, especially when improved by our athletic exercises, so engaging to an English subject, and forbidding to all others.”
In the old Italian schools, the body was usually bent at the waist. In some of the old French, the body was lowered by a very low reverse lunge. The adversary may be hit either with the extending arm or by impaling upon it, or both.
In terms of the modern French school, the “passata di sotto” is classified as an esquive, specifically une passe dessous with the back leg extended or both legs deeply bent.
With real weapons, the adversary is ideally impaled, usually in the belly which is, were the swords real, a good place to hit because are no ribs and cartilage to potentially prevent the point from entering or otherwise diminish its penetration. There is also some anecdotal evidence to suggest that in some cases belly wounds may be more quickly incapacitating.
A very long low lunge which made going forward might slip under the adversary’s guard, as in Rafael Sabatini’s novel The Black Swan (1932), and which made in reverse might serve aid a counter-attack by lowering of the body. (An analysis of the duel in the novel may be found here: The Duel on the Beach, Part II: The Black Swan.)
Long low lunges like this are often identified with, or confused with, the passata soto. Note, however, that fencing language is highly malleable and definitions vary: one master’s passata soto might include only the classic reverse lunge with a bend at the waist, while another’s may include any lowering of the body in attack or counter-attack. Most masters, however, consider it to be a counter-attack with esquive, the body lowering in place or with a reverse lunge, and not a long low lunge forward.
The passata soto is not without significant drawbacks, which is probably why Lonergan recommended its use at night and nowhere else. Foremost, it must be well-timed. Too late, and the fencer attempting it may get hit in the face, neck, or upper torso. Too soon, and the fencer attempting it throws away the advantage of the surprise mandatory to its success. Used too often, and the adversary may learn how to trigger it with a feint, and then take advantage of the poor position the classical passata soto leaves the fencer in.
And it is this poor position that is the major drawback of the passata soto, in particular with real weapons. With the unarmed hand on the ground, the torso bent sideways, and the rear leg extended well behind, the fencer is in a bad position for defense after a failed attack or, even if the swords were real, after impaling the adversary. Few wounds are immediately incapacitating, including ultimately fatal wounds: many duelists and battlefield swordsmen were wounded or killed after giving an adversary a fatal wound. Even with a mortal wound to the heart, an adversary may live as long as ten seconds. Even assuming an average of four, that’s plenty of time to even things up.
In the case of dry (non-electric) weapons, the judges and director (referee) will determine whether a hit was made, whether it was in time, and whether a hit on the fencer who ducked is valid via rules regarding replacing of target. In the case of electrical weapons, the machine will make the determination in epee, and the machine and director in foil and saber.
For the fencer armed with a rapier on poniard, placing the poniard-armed hand on the ground is giving up half of one’s offense and defense, to be replaced by almost blind trust.
From the position of the passata soto, a prime or lifted sixte/septime beat or bind, or a St. George parry or opposition (modern saber quinte) accompanied by the use of the unarmed hand to help ward off the adversary’s blade, plus an urgent recovery forward or backward, all performed near-simultaneously, is the only viable option if the passata soto has failed to hit or otherwise halt the adversary.
Such recovery, however, is invariably slow, and a loss of balance may ensue if the unarmed hand is removed from the ground too soon to assist in parrying or opposing, for example. Further, the long low position leaves the fencer vulnerable if the arrest fails, whether by missing the adversary or failing to immediately incapacitate him. In particular, the head, neck, and subclavian area are exposed. Fatal thrusting wounds can be given in any of the three areas. It’s likely that execution at night might alleviate some of these weaknesses in the technique, but it would need to be a dark night with little ambient light.
Historical Techniques Similar to Passata Soto
There are better methods, past and present. In particular, these methods, while not reducing the target quite as much, leave the fencer in a much better position should the counter-attack fail, or, with real weapons, should the adversary be hit but not be immediately incapacitated. Some masters, Sir William Hope for example, believed also that a lowered position better-protected the torso.
In general they consist of a lowering of the body to a lesser degree, often with a parry or beat first, or with a thrust in opposition. Below are a series of images depicting this in various forms over time.
The Passata Soto in Film
The passata soto is seldom shown in film, unfortunately, but here are two of the very few associated examples:
The Passato Soto in Modern Fencing
In modern competitive fencing, the technique is still occasionally seen in its classical form, in particular against a flèche, but more often is seen in the modified form of “squatting.” This is not a new technique! It was noted by Jean Joseph-Renaud more than a century ago. He correctly–as expected–notes that the latter form is easier.
In the spring of 1978 I saw it well-used by a University of Southern California epeeist–I made up the weakest third of the USC epee team, having fenced for less than a year–at a large collegiate meet at the University of California San Diego. The score was la belle (4-4), with no time limit for the final touch as I recall. (It was a nice rule that, of no time limit for the last touch! It’s long since been sadly abolished in the name of expediency…)
Suddenly both fencers stopped and pulled off their masks, but for no reason other than that they had heard the bell on the adjacent strip and, their adrenalin up for the la belle touch, mistook it for theirs. The young director… Hold on for a moment. Today the director, from directeur de combat, the person who “directs” a duel, is called a “referee,” solely because the foolish powers that be thought it would make fencing more spectator friendly… Seriously.
But back to our anecdote. The young college-age director, rather than enforcing the halt and putting the fencers back on guard, said “I didn’t call halt!”
You know what surely happened next. Without putting masks back on, immediately the opposing team’s fencer flèched while ours dropped into a beautiful passata soto. We got the touch and the bout. Neither fencer, thankfully, was hit in the unprotected face. Or at least that’s how I recall it happened.
In modern usage, although infrequently seen, is a form known as the “turning” passata soto. The description is best left to R. A. Lidstone:
In competitive use, the modern form most often takes the form of ducking or squatting, shown below. Ducking has been used for at least seventy-five years in modern fencing.
Copyright Benerson Little 2017. Last updated April 13, 2021.
So, “Did pirates wear eye patches?”
The short answer: Only if they had lost eyes to disease or injury, and this was no more prevalent among pirates than among fighting seamen and soldiers. In other words, the eye patch is in no way a sign or symbol of the pirate per se, nor even of the seaman in general.
Still, the question is a good one, if only to give us a reason to dig into related history.
The Mythbusters television show and other speculators have recently added to the myth by working backward from the proposition, that is, “If pirates wore eye patches, why would they have worn them?” rather than looking first at primary sources to see if there is any evidence that pirates wore them at all. There isn’t, other than as noted below.
The associated suggestions that pirates may have worn eye patches to improve night vision or daylight lookout observations or to enable them to fight below decks isn’t supported by any primary source material. In fact, the loss of sight in an eye, even by wearing an eye patch, causes significant loss in both depth perception and visual breadth, making movement aboard a vessel, aloft especially, very dangerous. It would also make visual observation by a lookout much more difficult.
As for fighting below decks, pirates and other seamen didn’t really do much of it: it was much easier to flush crew below decks by tossing grenades and firepots into breaches chopped into decks and bulkheads with boarding axes. In other words, the mere idea that eye patches might have been used to aid in fighting below decks shows a clear lack of understanding of the subject.
In other words: There is no historical evidence at all for any of these purported reasons why a pirate might have worn eye patches! Mythbusters and other popular “documentaries” are entertainment, not serious history. This includes “The History Channel,” now known I think as History.com: it’s “docu-tainment,” not real history. Trust me on this: if you’re being interviewed as an expert for a TV “documentary” and produce too many facts against the episode’s premise, the producers won’t put you on screen!
Again, let me emphasize: if a pirate wore an eye patch it was because he had lost an eye or was disfigured in his eye, and for no other reason!
The origin of the modern myth that pirates wore eye patches is largely literary. However, its roots lay deep in reality, both in the fact that eyes were often lost to disease and battle trauma, and that a one-eyed person often looks fearsome or sinister. The latter sense goes back millennia, and probably farther. Homer’s Cyclops, Polyphemus, is an early instance.
Some versions of Bernal Diaz’s The Discovery and Conquest of Mexico describe the fierce old musketeer Heredia, sent to frighten Native Americans, as a one-eyed, one-legged (or game-legged) soldier. The same work describes how Cortez’s enemy, Narvaez, lost an eye in battle.
Among seafaring journals and other records of the Golden Age of Piracy, there is only occasional mention of one-eyed seamen, usually in lists of those wounded in battle. Exquemelin’s various editions of The Buccaneers of America famously list compensation for the wounded, including the loss of an eye, and it is here that the primary source of the myth of pirates and eye patches is probably to be found, in combination with other works such as Bernal Diaz’s. The loss of an eye in battle was fairly common, in fact: seafarer Edward Coxere describes the use of oakum and tallow to stuff an eye socket in order to heal the wound, for example. Notably, none of the several eyewitness images of buccaneers or flibustiers from the 1680s show any with any of the usual Hollywood characteristics: wooden legs, eye patches, parrots, hooks, &c. This is to be expected. The large number of images of seamen, usually naval, with eye patches dates to a century later.
As a friend, “Tweeds Blues,” pointed out recently, it seemingly would not be surprising to find a fair number of one-eyed naval, privateer, and pirate seamen, given the damage done by splinters in action. Here I feel the need to point out yet again that Mythbusters is entertainment: one episode even suggested that splinters didn’t cause much damage in a naval action. In fact they did: there are hundreds, if not thousands, of accounts of the damage done, not to mention at least one accurate test that proves the horrible extent of damage splinters can do. The Mythbusters test parameters were simply incorrect, not to mention that overwhelming historical evidence was largely ignored, as were previous–and more accurate, historically correct–tests. The images above show splinters resulting from round shot striking a correctly-built hull section. The test was conducted by the Maritime Museum in Erie, Pennsylvania, home of the Flagship Niagara.
Of course, the most famous example of a naval mariner with an eye patch is that of Lord Admiral Horatio Nelson, who lost the sight in one eye during the capture of Calvi on Corsica in 1793–except that did not actually wear an eye patch. This has not stopped the popular assumption that he did from becoming prevalent, and, although out of our period, this has still influenced the idea of the one-eyed mariner, and therefore one-eyed pirate. Admiral Nelson also lost an arm.
The fact is, patches were commonly used to cover any facial disfigurement. In the seventeenth century diarist and navy secretary Samuel Pepys wore a black patch, or possibly a large beauty patch, to cover a large cold sore. Similarly, King William III advised a soldier to remove the black patch covering the scar on his face because “It’s more honourable in a Soldier to wear a Scar than a Patch.” (For the latter reference, see Coke in the sources listed below.)
By the late eighteenth century the image of the eye-patched, peg-legged seaman was iconic, probably the result of the increased number of British naval actions brought on by the American Revolution and, especially, the Napoleonic Wars. Notably, in reality most such disabled seamen were pensioned from service, as shown above. These satirical images are probably the material origin of the popular identification of the naval seaman, and therefore the pirate, with eye patches.
Even with its legitimate historical roots in fact, this pirate myth, like many, didn’t come fully into being until the mid-nineteenth century, a hundred or more years after the Golden Age of Piracy. Sir Walter Scott in The Fortunes of Nigel describes “The noble Captain Colepepper, or Peppercull, for he was known by both these names, and some others besides, had a martial and a swashing exterior, which, on the present occasion, was rendered yet more peculiar, by a patch covering his left eye and a part of the cheek. The sleeves of his thickset velvet jerkin were polished and shone with grease, — his buff gloves had huge tops, which reached almost to the elbow; his sword-belt of the same materials extended its breadth from his haunchbone to his small ribs, and supported on the one side his large black-hilted back-sword, on the other a dagger of like proportions.” Here is the epitome of the swashbuckler, easily translated to the pirate.
Not long after, Charles Dickens described a pirate with “the one eye and the patch across the nose” and soon afterward similarly did many writers of popular fiction. However, many of our principle originators or propagators of pirate myths—Robert Louis Stevenson, J. M. Barrie, Howard Pyle, N. C. Wyeth, for example—do not appear to have bothered with this myth, although Barrie’s Captain Hook probably did encourage other images of pirates missing a vital part such as a limb or eye.
In 1926 Douglas Fairbanks propagated nineteenth century pirate myths, as well as a few he helped create, across the world with his film The Black Pirate. In it he established the modern pirate swashbuckler stereotype, based much on Howard Pyle’s Book of Pirates, Peter Pan, and probably Captain Blood (one of whose characters, by the way, was one-eyed, although he lost the eye at Sedgemoor, not at sea). Around the same time, we begin to see pirate book cover art and other illustrations showing pirates with eye patches. But it would take later films, such as The Black Swan and The Crimson Pirate to make the eye patch an obvious, routine part of the stereotypical pirate costume.
Roger Coke. A Detection of the Court and State of England. 4th ed. London: J. Brotherton and W. Meadows, 1719. Vol. 2:472.
Bernal Díaz del Castillo. Historia Verdadera de la Conquista de la Nueva España. Reprint, Madrid: Don Benito Cano, 1795. See vol. 1:213.
Edward Coxere. Adventures by Sea of Edward Coxere. Edited by E. H. W. Meyerstein. London: Oxford University, 1946.
Charles Dickens. “The Perils of Certain English Prisoners.” 1857. Reprinted in Charles Dickens’s Stories from the Christmas Numbers. New York: MacMillan, 1896. Page 144.
Alexandre Exquemelin [John Esquemeling]. The Buccaneers of America. London: Crooke, 1684. Reprint, New York: Dorset Press, 1987. Page 60.
Benerson Little. The Golden Age of Piracy: The Truth Behind Pirate Myths. New York: Skyhorse Publishing, 2016. Prologue.
——. “El Mito Pirata” in Desperta Ferro 17 (August 2015), 52-55.
Heidi Mitchell. “Does Reading in Dim Light Hurt Your Eyes?” Wall Street Journal online, April 8, 2013, http://www.wsj.com.
Mythbusters, Episode 71.
Samuel Pepys. Diary. September 26, 1664.
Walter Scott. The Fortunes of Nigel. Boston: Samuel H. Parker, 1822. Page 255.
The Telegraph. “Nelson didn’t wear eye-patch, says historian.” January 19, 2005.
Copyright Benerson Little, 2017. Last updated November 26, 2020.
Quite often today, reenactors, students of authentic pirate portrayals of the late seventeenth and early eighteenth centuries, aka the “Golden Age of Piracy,” and the makers of any television documentary or drama, or any film, about pirates who wants to be taken seriously will generally drop the pirate earrings and other pirate caricature, or at least minimize them. However, this practice, while avoiding “Hollywood” cliché, has one problem:
There were “Golden Age” seafarers who wore earrings.
The same goes for pirates of the “Golden Age” from circa 1655 to 1730.
As is the case with much of our perception of what is and is not correct and authentic about “pirates,” the myth or reality really applies much more broadly, to seafarers in general, and from there to the question of whether the myth or reality applies across the board to seafarers or only to a specific subset. For example, I was asked during a Reddit AMA a while back about the “crossing the line” ceremony originating from pirates. It doesn’t actually originate with sea thieves, but from mariners in general, unless all mariners were sea thieves. (Of course, some might argue that at least through the Middle Ages all seafarers were potential pirates…) Sea rovers may have practiced the various “crossing the line” ceremonies, just as seamen in general did, but it was foremost a maritime practice, not one specific to piracy. And I say various practices because there were different cultural practices, and different “lines” to cross as well.
So, put simply, were earrings a conventional part of pirate dress, or of maritime dress, in general during the period 1655 to 1730?
I’m going to keep the answer just as simple, for this is not the place to address the variety of seafarers, sea thieves, and their national and local customs and dress.
And the simple answer to both is…no.
Even so, many answers are really not so simple as they seem, and so it is with this one. There are three exceptions to the earring rule, and they apply not only to pirates and privateers, but to mariners in general.
First is the Dutch exception. Earrings were common in the mid to late seventeenth century and into the eighteenth on many Dutch seafarers, as is clear by the several images I’ve posted here. The seaman in the image above wears an earring in the left ear, and the seamen in the Dufart images below mirror each other, one in the left, the other in the right. From the images it’s impossible to tell if the Dutchmen are wearing an earring on the other ear as well.
So, if you want to be a sea rover and wear an earring and be historically accurate, be a Dutch pirate or privateer. That said, many serious pirate and privateer reenactors are opposed even to this out of concern that it gives the wrong impression: either in general, or because most of the early eighteenth century pirates were “Anglo-American,” or because there are only a “few” Dutch images of seafarers with earrings (although a “few” images would well suffice to support “facts” such reenactors are in favor of). For me, fact–truth–should outweigh this. First, given the large number of buccaneers or flibustiers of Dutch origin in the late seventeenth century, it would not be surprising to find earrings on some buccaneers. Second, not all of the early eighteenth century “Anglo-American” pirates were in fact British or Irish derived, and separate from them were French and Spanish pirates whose crews doubtless included some Dutch members.
Second is the fop exception. Through much of the seventeenth century, including the last quarter, and into the eighteenth century some French fops, and some English onesas well for they generally followed French fashion, were in the habit of wearing an earring, perhaps even one in each ear. The common assumption is that men’s earrings in England and Scotland went out of fashion after the death of Charles I, but this is not entirely the case. They became less popular, and were restricted largely to the foppish gentleman and would-be gentleman–a more restricted group of “gallants” than in the first half of the century.
References to earrings on men in the second half of the seventeenth century include a letter written by George Fox (of the Society of Friends, or Quakers) in 1654, but not published, I don’t believe, prior to the 1690s: “a company of them playing at bowls, or at tables, or at shuffle-board; or each taking his horse, that hath bunches of ribbons on his head, as the rider hath on his own (who, perhaps, hath a ring in his ear too)…” This isn’t too long after the execution of Charles I, when we might still see earrings (and which many secondary texts say is about the last time Englishmen wore earrings), and is at the beginning of the Golden Age of Piracy, assuming a start date of 1655 with the capture of Jamaica.
Similarly, note the illustration below. Published in 1653 as part of an appendix satirizing the English gallant and his ostentatious dress and body ornamentation, it does prove that even at this date some English gallants still wore not only one, but two earrings at times. The author, Dr. John Bulwer, compares earring-wearing and other ostentation to that of foreign savages and heathens, or even to pre-Christian Britons, and appears to approve only of plain sober dress, as one might expect during the Age of Cromwell–up with the cropped Roundheads, down with the long-haired Royalists! “Children of vanity” is Bulwer’s disparaging, if also accurate on occasion, term for those who excessively ornament themselves. He also mocks gallants for wearing patches, starched collars (yellowed in fact with starch), flowing locks, mustaches, and so on. He is no less sparing of women. Curiously, Dr. Bulwer’s portrait shows him with flowing locks, a mustache, and goatee.
Moving on to William Wycherly and The Plain-Dealer (one of my favorite plays), with a reference to the jewel in the ear and gunpowder spot on the hand, circa 1673, in the middle of the age of buccaneers. Originally I had considered the possibility that this might refer to the sea captain and not the fop, but other instances (George Fox above, for example), plus a re-reading, plus the opinion of a professor emeritus of seventeenth century English literature, have persuaded me that fops wore earrings more often than we think (the professor thought so, by the way)—enough to be an obvious reference for the audience. We’ll deal with gunpowder spots in another blog soon.
Head now to The Works of Mr. Thomas Brown: Amusements Serious and Comical, a comical and satirical group of works published in 1700, and we have the following: “I had honestly, deserved a better Reward than a Patch-box, a Toothpicker, and a small Ear-ring amounted to, and therefore need not disquiet my self upon that Score.. Thus you fee, Madam…” The gentleman has received several useful implements (but not what he was seeking) from his inamorata: an ear picker to clean his ears, a patch box for patches (fops wore them), and a single earring. The last might be simply a love token, but to what end if it can’t be displayed–worn, that is?
That French fops wore them is uncontested. By way of a nautical example, in 1704 the comte de Forbin, a famous, and arguably quite pompous at times, commerce-raiding French naval captain refused passage to a French monk who had been authorized travel from Livorno, Italy to France aboard the French warship by Cardinal de Janson. The monk wore a single gold earring with a large pearl, and Forbin specifically notes his foppish airs, that is, that he acted like a “petit-maître“–a fop or dandy. There were at the time a fair number of priests and monks as addicted to trappings of the flesh as to world beyond, if not more. In any case, it didn’t help that the monk was “haughty and arrogant.” In fact, it was probably this behavior that set Forbin off. But the captain’s reply to the monk was that the cardinal’s order said nothing about giving passage to a monk wearing an earring and giving the airs of a fop–so get off my ship.
In sum, if you want to be a sea rover with an earring but don’t want to be Dutch you might considering being a bit of a fop. This isn’t so very far-fetched, for their are examples of pirates wearing jewelry in a fashion that might be considered foppish. Quoting from The Golden Age of Piracy: The Truth Behind Pirate Myths, an overly fashionable pirate “might wear a ‘necklace of pearls of extraordinary size and inestimable price, with rubies of surpassing beauty’ as Captain Nicolas Van Horn did, or a gold chain with a ‘gold toothpicker hanging at it’ as Captain John James did (and many of his crew also wore gold chains), or a ‘gold chain round his neck, with a diamond cross hanging to it’ as Captain Bartholomew Roberts reportedly did.” (Citations to the quotations above can be found in the endnotes to The Golden Age of Piracy. The quotation is from the prologue.)
Even so, I do tend to agree a bit more with reenactors who object to this exception out of concern for the wrong impression. That said, I still would not be surprised to find a foppish pirate wearing an earring. Devotees of the early eighteenth century Anglo-American pirates will argue quite factually that most were seamen. This doesn’t alter the fact that there may have some foppish seamen–I’ve known some modern ones who’d fit this description, although they’re in the minority–and there were a few non-seamen as well who might fit the fop bill, including the dilettante pirate Stede Bonnet. In my experience, both in studying seamen of the past as well as having known and worked with many modern seamen–naval, commercial, tall ship–during my life, mariners as a group are not homogeneous even though they may express attributes common to their profession. In other words, they too have personalities and often express them through their clothing, hair, and other body ornamentation.
The third exception is that of Native Americans, Africans, and mixed races. This should be an obvious exception, but the fact that it is so often overlooked strongly suggests an ethnocentric–that is, a “white-centric” or “Euro-centric”–bias in the view of piracy and of the maritime in general. A fair number of English, French, and Dutch pirates and privateers, although not the majority, were non-white. The majority of Spanish pirates and privateers originating in the Caribbean were non-white. Many of these seafarers of color, particularly those of full African and Native American blood, probably wore earrings in one form or another.
Many period descriptions and images of Native American males mention or show earrings. Africans, and those of African descent, in European and American context in the seventeenth century are often shown wearing earrings, typically a single one. A large number of seventeenth century Dutch paintings show black servants and slaves wearing earrings, as does a painting of black Moor in North Africa and as does one of a possible West Indian slave trader.
One final note:
Earrings were a fashion statement!
Seamen of this era, including sea rovers, did not wear them to improve eyesight, pay for a funeral, or for any other nonsensical reason, no matter how reasonable such myths may seem when un-examined or otherwise taken at face value. Unfortunately, in spite of the wealth of accurate information readily available on the Internet, it has paradoxically fostered, or perhaps enhanced is more accurate, an intellectual laziness and willingness to believe anything in print.
So, digressing slightly in order to speak historically about a fictional character, would Capt. Peter Blood actually have worn a large pearl earring as Rafael Sabatini described he did in Captain Blood Returns (aka The Chronicles of Captain Blood in the UK)? Of course he would have, for he meets two criteria: he has had service in the Dutch navy under de Ruyter and is, almost, a fop in his style of dress!
Copyright Benerson Little 2017. First posted July 2017. Last updated July 9, 2019.
Strangers, who are ye? Whence sail ye over the wet ways? On some trading enterprise, or at adventure do ye rove, even as sea-robbers, over the brine, for they wander at hazard of their own lives bringing bale to alien men?
—Homer, Odyssey, book III (8th century BC, earlier oral tradition: translated by S. H. Butcher and Andrew Lang)
For in early times the Hellenes and the barbarians of the coast and islands, as communication by sea became more common, were tempted to turn pirates, under the conduct of their most powerful men; their motives being to serve their own cupidity and to support the needy. The would fall upon a town unprotected by walls, and consisting of a mere collection of villages, and would plunder it; indeed, this came to be the main source of their livelihood, no disgrace yet being attached to such an achievement, but even some glory.
—Thucydides, The Peloponnesian War, book 1, chapter 1 (5th century BC: translated by Richard Crawley, 1952)
[M]uch less would pirates coming to his land be let go scatheless for long, men whose care it was to lift their hands and seize the goods of others, and to weave secret webs of guile, and harry the steadings of herdsmen with ill-sounding forays.
—Apollonius Rhodius, Argonautica, book III (3rd century BC: translated by Robert Cooper Seaton, 1912)
For the Illyrians [the sea rovers of Queen Teuta] were not then the enemies of this people or that, but the enemies of all mankind.
—Polybius, The Histories, II:12 (2nd century BC: translated by W. R. Paton, 1922)
As if a man that lies at the mercy of common Pirates [praedonibus: of the robbers or plunderers], should promise them a certain Sum of Money for the saving of his Life: ‘Tis no deceit to recede from it, tho’ he had given his Oath for the performance: for we are not to look upon Pirates [pirata] as Open and Lawful Enemies: but as the Common Adversaries of Mankind [communis hostis omnium]. For they are a sort of men with whom we ought to have neither Faith, nor Oath in common.
—Marcus Tullius Cicero, De Officiis 3:29.107 (44 BC: translated by R. l’Estrange, 1720)
Not contented that suddenly he was become rich, [as] of a needy [person] he practiced piracy [piraticam] against his own Country.
—Marcus Junianus Justinus, Trogi Pompeii Historiis, book XXII (2nd century AD?: translated by N. Bailey, 1732)
For when that king had asked the man what he meant by keeping hostile possession of the sea, he answered with bold pride, ‘What thou meanest by seizing the whole earth; but because I do it with a petty ship, I am called a robber, while thou who dost it with a great fleet art styled emperor.’
—St. Augustine, The City of God (early 5th century AD, repeating a story told by Cicero in de Republica five centuries earlier.)
In the same year, the pagans [Danes, Vikings], coming from the northern regions to Britain with a naval armament, made descents in all quarters, plundering, ravaging, and slaughtering, like most cruel wolves, not only beasts of burthen, oxen and sheep, but priests and Levites as well, and multitudes of monks and nuns.
—Roger de Hoveden, Annals (post 1189?, of the year 793 AD: translated by Henry T. Riley)
Still they killed a great many people and made great depredations on the shore.
—The Saga of the Jómsvíkings (12th century AD, of the 10th century: translated by Lee M. Hollander, 1955)
…who the malefactors and disturbers of our peace were, who being in two cogs of Campen wickedly and craftily committed divers robberies, depredations, discords, and slayings of many of our lieges along the coasts of the aforesaid country…
—Patent Rolls, 48 Ed. III. Pt. I, m. 2 d. (1374: from Marsden, Documents Relating to the Law and Custom of the Sea. The term pirate does not appear to be used in the Middle Ages in reference to the practitioners of piratical acts until the 15th century.)
I mene pyratys of the Se, Which brynge folk in pouerte.
—John Lydgate, The Pilgrimage of the Life of Man (1426: from the French of Guillaume de Deguileville, 1330, 1355)
…which notwithstondyng, divers and monyfold spoliations and robberies [have] been daily had, committed, an doon uppon the se unto the said subgettis of the said most high and myghty princes, his most dere cosyns, as well by their enemyes as by other pirattis and robbers…
—Patent Rolls, 6 Hen. VII, m. II d. (1490: from Marsden, Documents Relating to the Law and Custom of the Sea.)
Because, upon the relation of some of our lieges we are informed that many spoilers, pirates, exiles, and outlaws, arrayed in warlike fashion on the sea, have there assaulted out subjects and faithful lieges, spoiled their ships, goods, and merchandise, and are daily busying themselves and intending with all their strength to assault, rob, and spoil them…
—Patent Rolls, 3 Hen. VIII, pt. I, m. 7 (1511: from Marsden, Documents Relating to the Law and Custom of the Sea)
Her Majestie, understanding by the grevious and sondrie complaints made by her subjects of the great spoiles by them dailie sustained at the hands of such as now of late hath so infested the narrowe seas…Wherefore her Majestie’s pleasure and commandment is that, yf you shall finde any notorious pyrates at the seas, you do apprehend them…
—Landsdowne MSS. 155, f. 166 (1576: from Marsden, Documents Relating to the Law and Custom of the Sea)
Pirate: [the word] signifies one who goes to sea for adventure [daring enterprise or hazardous exploit]…the word was not in ancient times one of ugliness and vituperation, being piracy exercised by industry and right, a private war of the strongest against the weakest.
—Nicot, Thresor de la langue française (1606: author’s translation)
Moreover, pirates are those who range the seas without licence from their prince; who when they are met with, are punished more severely by their own lords, then when they fall into the hands of strangers.
—Sir Richard Hawkins, The Observations of Sir Richard Hawkins, Knight (1622: regarding his South Sea voyage of 1594)
And the pyrate pillaged Phillipps’ bark…And there were aboard Morgan Phillipps’ bark divers men passengers, whereof the pyrate too but one, and 12 or 14 women, all which were ravished [raped] by the pyrate’s company…
—“The examination of Hugh Baker” in The Council Book of the Corporation of Youghal (1623: published 1878)
Yea, and many times a Pirat who are commonly the best manned, but they fight only for wealth, not for honour or revenge, except they bee extremely constrained.
—John Smith, A Sea Grammar (1627)
[A]nd therefore in England, a pirat is called a rover and robber upon the sea.
[P]irata est hostis humani generis… [A pirate is an enemy of all mankind…]
—Edward Coke, The Third Part of the Institutes of the Laws of England, chapter 49 (1644)
‘Tis true, he’s a Rover of Fortune, yet a prince, aboard his little wooden world.
—Aphra Behn, The Rover (1677: the pirate or sea rover has long been a popular romantic image)
[I]n their Company sailed also a small Algierman of 14 Guns, pitifully manned wth about 40 Moors he hath been out of Algier these two yeares, and all his Slaves being escaped from him, dares not returne, so resolves to turne Pyrat, and take every Vessell…she can master.
—Thomas Baker, Journal (1679)
Then Sir T. P. [Thomas Pinfold] said it was impossible they should be Pirates, for a Pirate was hostis humani generis, but they were not Enemies to all Mankind; therefore they could not be Pirates: Upon which all smiled, and one of the Lords asked him, Whether there ever was any such thing as a Pirate, if none could be a Pirate but he that was actually in War with all Mankind? To which he did not reply, but only repeated what he had said before. Hostis humani generis, is neither a Definition, nor so much as a Description of a pirat, but a rhetorical invective to show the odiousness of that crime.
—Matthew Tindall, An Essay Concerning the Laws of Nations (1694: concerning the trial of privateers commissioned by the exiled James II.)
Pirate: a sea rover [escumeur de mer, écumeur de mer, “a skimmer or parasite” of the sea], one who sails the sea without a commission from any Prince, to steal, to pillage.
Forban: a pirate, a sea rover [escumeur de mer], who takes from all Nations without any commission.
Corsaire: a pirate, a sea rover [escumeur de mer], who roves [va en course] with a commission from a State or a sovereign Prince.
—Dictionnaire de L’Académie française, 1st Edition (1694: author’s translations)
They [the buccaneers in the South Sea] scare shew’d one Instance of true Courage or Conduct, tho they were accounted such fighting Fellows at home.
—Privateer, Bahamas governor, and pirate hunter Woodes Rogers, A Cruising Voyage Round the World (1712)
They villify us, the scoundrels do, when there is only this difference, they rob the poor under the cover of Law, forsooth, and we plunder the rich under the protection of our own Courage.
—attributed to pirate Samuel Bellamy by Charles Johnson in A General History of the Pirates (1726, of events of 1717: the quote is almost certainly invented by Charles Johnson, and inspired by the exchange between the pirate Dionides and Alexander the Great, as reported by St. Augustine, Cicero, and others.)
[B]ut now that war was declared against Spain, they [the pirates] would have an opportunity of enriching themselves in a legal way by going a privateering, which many of them had privately done.
—William Snelgrave, A New Account of Some Parts of Guinea and the Slave Trade (1734, in reference to events of 1719)
That pirates had no God but their money, nor Saviour but their arms.
—a pirate in Ned Low’s crew, quoted in The Four Years Voyages of Capt. George Roberts (1726: the quote dates to 1722, and might be invented)
The Pyrates, tho’ singly Fellows of Courage, yet wanting such a Tye of Order, some Director to unite that Force, were a contemptible Enemy, neither killed nor wounded us a man in taking them, and must ever, in the same Circumstances, be the Fate of such Rabble.
—John Atkins, A Voyage to Guinea, Brazil, & the West Indies (1735: of the capture of Bartholomew Roberts’s Royal Fortune and his crew in 1722. Roberts was killed in the action.)
“A Pirate is a Sea-Thief, or Hostis humani generis [Enemy of all mankind], who to enrich himself, either by surprise or open force, sets upon Merchants and others trading by Sea, ever spoiling their Lading, if by an possibility he can get the master, sometimes bereaving them of their Lives and sinking their Ships; the Actors wherin, Tully calls Enemies to all, with whom neither Faith nor Oath is to be kept.”
—Charles Molloy, De Jure Maritimo Et Navali (1722: Tully is a common period nickname for Cicero.)
Pirate, Corsaire ou Forban: A thief of the sea, a sailor who cruises the seas with a vessel armed for war, to steal the vessels of friends or enemies, without distinction. He differs from a privateer [armateur] in that the latter makes war as an honest man, attacking and stealing only the enemy’s vessels, and in that he is authorized by a commission from the admiral.
— Alexandre Savérien, Dictionnaire historique, théorique et pratique de marine (1758: here a privateer is referred to as an armateur, the term for one who fits out a privateer, and not as a corsaire. Author’s translation.)
Forban: a corsair, who practices piracy without a commission from any Prince, and who attacks both friend and enemy.
—Dictionnaire de L’Académie française, 4th Edition (1762: the definition of pirate is unchanged from the 1694 edition)
Lastly, the crime of piracy, or robbery and depredation upon the high seas, is an offence against the universal law of society, a pirate being, according to sir Edward Coke, hostis humani generis…The offence of piracy, by common law, consists in committing those acts of robbery and depredation on the high seas, which, if committed on land, would have amounted to felony there. But by statute, some other offenses have been made piracy also…
—William Blackstone, Commentaries on the Laws of England, vol. 4 (1769)
[I]f any person, upon the high seas, or in any river, haven, or bay, out of the jurisdiction of any particular state, commit murder or robbery, on board a vessel, he shall be deemed a pirate and a felon, and shall suffer death.
—Act of Congress (1790)
As therefore he [the pirate] has renounced all the benefits of society and government, and has reduced himself afresh to the savage state of nature, by declaring war against all mankind, all mankind must declare war against him.
—The Trial of the Twelve Spanish Pirates (1834: government quoting from Blackstone’s Commentaries in the indictment.)
Noncommissioned vessels of a belligerent nation may at all times capture hostile ships, without being deemed, by the Law of Nations, Pirates. But they have no interest in the prizes they take, and the property so seized is condemned…
—Byerley Thomson, The Laws of War, Affecting Commerce and Shipping (1854: notwithstanding this reasoning, many rovers were hanged by an enemy as “pirates” in past centuries simply because they lacked a commission.)
Privateering is nothing more than piracy organized and legal.
—Théodore Ortolan, Règles internationales et diplomatie de la mer (1864)
Piracy: depredation without authority, or transgression of authority given, by despoiling beyond its warrant. [Then repeats Blackstone’s definition.]
Pirate: a sea robber… Also an armed ship that roams the seas without any legal commission, and seizes or plunders every vessel she meets.
—W. H. Smyth, The Sailor’s Word-Book (1867)
It is because a pirate is dangerous to everybody that he bears a caput lupinum, may be seized by anybody, and punished anywhere.
—Montague Bernard, A Historical Account of the Neutrality of Great Britain During the American Civil War (1870: “caput lupinum” means “wolf’s head,” and indicates an outlaw who may be killed on sight, like a wolf)
Those only are considered as principal or real pirates who use violence, or who go below to rummage for plunder, or who take part in frightening the persons robbed.
—Ernest Alabaster, Notes and Commentaries on Chinese Criminal Law (1899)
Piracy: commerce without its folly-swaddles, just as God made it.
—Ambrose Bierce, The Devil’s Dictionary (1911: definition originally published between 1881 and 1906)
The submarine warfare did not mean only the sinking of ships, but it was a crime against humanity in that it sank thousands of harmless merchantmen. In the whole history of warfare between nations that had never been sanctioned. It is rank piracy, and the pirates must receive the punishment.
—Lloyd George, quoted in the New York Times (1918: legal opinion was largely against the Prime Minister’s sentiment.)
Piracy suits my master, and that is all there is to it. His ship is his kingdom, he comes and goes as he pleases, and no man can command him. He is a law unto himself.
—Daphne du Maurier, Frenchman’s Creek (1942: again the popular view of a pirate as independent free-roving operator.)
Yes I am a pirate//Two hundred years too late//The cannons don’t thunder//There’s nothing to plunder//I’m an over forty victim of fate…
—Jimmy Buffet, A1A, “A Pirate Looks at Forty” (1974)
Piracy: Those acts of robbery and depredation upon the high seas which, if committed on land, would have amounted to a felony. Brigandage committed on the sea or from the sea.
—Black’s Law Dictionary, 5th Edition (1979: this definition is essentially Blackstone’s)
Piracy consists of any of the following acts: (a) any illegal acts of violence or detention, or any act of depredation, committed for private ends by the crew or the passengers of a private ship or a private aircraft, and directed: (i) on the high seas, against another ship or aircraft, or against persons or property on board such ship or aircraft; (ii) against a ship, aircraft, persons or property in a place outside the jurisdiction of any State; (b) any act of voluntary participation in the operation of a ship or of an aircraft with knowledge of facts making it a pirate ship or aircraft; (c) any act of inciting or of intentionally facilitating an act described in subparagraph (a) or (b).
—United Nations Convention on the Law of the Sea (UNCLOS), Article 101 (1982/1994: current international law, originally drafted in 1958 as part of the UN Convention on the High Seas)
Pirate: One who robs and plunders on the sea, navigable rivers, etc., or cruises about for that purpose; one who practices piracy; a sea robber.
Piracy: The practice of the crime of robbery and depredation on the sea or navigable rivers, etc., or by descent from the sea upon the coast, by persons not holding a commission from an established civilized state.
—The Oxford English Dictionary, 2nd edition (1989)
Pirate: an adventurer who sails the seas to pillage merchant ships or the coasts.
Piracy [Piraterie]: an act of maritime brigandage conducted by pirates.
—La Trésor de la Langue Française informatisé (2002)
Pirate: one who commits or practices piracy.
Piracy: an act of robbery on the high seas: also: an act resembling such robbery.
—Merriam-Webster’s 11th Collegiate Dictionary (2003)
Whoever, on the high seas, commits the crime of piracy as defined by the law of nations, and is afterwards brought into or found in the United States, shall be imprisoned for life.
—18 USC §1651 (2007, current US law: unchanged since 1909, and little changed since 1819 except for the substitution of life imprisonment for the death penalty. See UNCLOS above for current law of nations.)
Whoever, being a seaman, lays violent hands upon his commander, to hinder and prevent his fighting in defense of his vessel or the goods intrusted to him, is a pirate, and shall be imprisoned for life.
—18 USC §1655 (2007, current US law: largely unchanged since 1790.)
Whoever, upon the high seas or other waters within the admiralty and maritime jurisdiction of the United States, by surprise or open force, maliciously attacks or sets upon any vessel belonging to another, with an intent unlawfully to plunder the same, or to despoil any owner thereof of any moneys, goods, or merchandise laden on board thereof, shall be fined under this title [Piracy and Privateering] or imprisoned not more than ten years, or both.
—18 USC §1659 (2007, current US law: penalty increased from that of 1909, otherwise essentially unchanged)
Whoever, being engaged in any piratical cruise or enterprise, or being of the crew of any piratical vessel, lands from such vessel and commits robbery on shore, is a pirate, and shall be imprisoned for life.
—18 USC §1661 (2007, current US law: largely unchanged since 1909, and very similar to law enacted in 1820)
So began a tense five-day standoff in which the pirates repeatedly threatened to kill the captain.
—New York Times (2009: regarding the Somali pirate attack on the cargo ship Maersk Alabama and the taking of her captain, Richard Phillips, hostage.)
We can finally do it! We can leave this crappy town and live the life we’ve all dreamed of…Haven’t you heard? Haven’t you been watching the news? Pirating is back, my friends, swashbuckling adventure on the high sea, the stuff we’ve all dreamed about, and it’s all happening right here: Somalia.
—Cartman, in South Park, “Fatbeard” (2009)
Copyright Benerson Little 2017. Posted 7 June 2017.
Commands at Sea: The Boatswain’s Call, Pipe, or Whistle, with a Note or Two on Boatswain Speech as Well
Ah, the Bard! As someone once pointed out in writing, and I wish I could recall who it was (unless I’m imagining or mis-recalling this), the opening to the Tempest is one of the most evocative in its brevity in all of literature. It brings ship and storm to life immediately. In related fashion, I’m pretty sure it was George MacDonald Fraser who wrote words to the effect that “Enter Mariners wet” is one of the great stage directions of all time. Or perhaps I’m confusing his observation with the former, or even inventing the former from the latter.
But, in this brief yet related digression from swordplay and swashbuckling at sea and ashore, we’re more concerned with another line in the play: “[T]end to the master’s whistle…,” that is, listen to and obey (the “Aye, aye!” spoken or unspoken) the musical commands, shrill, some said, from the ship master’s silver whistle.
Notably, it’s not the boatswain’s whistle Shakespeare mentions, but the master’s, for in the sixteenth century and into the seventeenth the boatswain was not the only officer authorized a whistle. As Nathaniel Boteler wrote in 1634 in A Dialogicall Discourse Concerninge Marine Affaires Betwene the Highe Admirall and a Captaine att Sea, first published in 1685 and known today as the eponymous Boteler’s Dialogues:
“ADMIRAL. How many be the officers that carry whistles in a ship of war?”
“CAPTAIN. They are three: The Master, the Boatswain, and Coxswain, for though the Captain my do the same at his pleasure, yet it is neither usual, nor necessary.”
By the late 17th century, it appears that the silver whistle or “call” was used primarily by the boatswain.
Before going further, and with no offense intended to anyone, I want to make sure that readers understand that boatswain is pronounced “bos’n” or “bosun.” I’ve heard “cocks-wayne” rather than the correct “cox’n” (cockswain, one who commands and helms–steers–a ship’s boat) before–including from persons well-educated but clearly un-nautical, not to mention clearly forgetting the first rule of the pronunciation of a new word: look it up!
The boatswain’s whistle, both as a badge of office for any ship’s officer as well as a functional instrument with a large variety of “calls” for ordering hands about, has been around since at least the 13th century according the USN Bluejacket’s Manual (1941 edition), in more or less similar traditional form. It also notes that, although the whistle is commonly referred to as the boatswain’s pipe in the US Navy, the term “call” in reference to it dates to “about” 1671. A writer commenting in 1679 upon the lack of religious fervor among English seamen during the English-Dutch war at sea 1672 to 1673, complains that “a Lieutenant’s Command for a Rope for the Boat, shall be sooner answered with Boatswain’s Call, than the Bell for Prayers…”
However the Reverend Henry Teonge, chaplain aboard the HMS Assistance 1676 to 1678, still referred to it as the boatswain’s whistle: “He had a neat coffin, which was covered with one of the King’s jacks, and his bo’sun’s silver whistle and chain laid on the top (to show his office) between two pistols crossed with a hanger drawn.”
The English boatswain had other badges of office as well, including a short cane or “bamboo,” its tip whipped with marline, for encouraging laggard seamen by cracking it on their backs and pates, although sometimes a simple rope’s end served as well. And there was the cat-of-nine-tails too, a dark badge of office best kept out of sight except when in use. But it was the boatswain’s whistle that was his definitive badge of office, and I’m sure that boatswains of the past were just as proud of their silver call as boatswain’s today are: “It is not so much by his fine Silver-call, as the illustrious Chain that it hangs by, that is the distinguishing Badge of his Post, and which he’s as proud of as my Lord Mayor is of his, and prouder,” wrote Ned Ward in 1707.
The whistle was an important means of directing seamen about their duties. Again, Ned Ward: “The Boatswain is a Kind of a Jack with a Box, for let him but whistle once, and you have a hundred or more Cartesian Puppets, pop up upon Deck, and run about, and streight disappear again in an Instant.”
In the 17th and 18th centuries an English boatswain’s duties included the custody, keeping, repair, and management of all rigging, anchors and cables, and sails; the hoisting in and out of cargo, stores, and boats; the management of all of the ship’s colors; the calling up, via his whistle, of gangs, watches, &c. for, as Boteler put it, “exertions of the their works and spells (as they call them), and to see that they do them thoroughly; and to keep them in peace in in order with one another.” This last duty was that of what on land was handled by the Provost Marshal. At sea, it was the boatswain who punished seamen for their shortcomings. This included everything from flogging wrongdoers to placing them in the bilboes to ducking them at the main yardarm. In the Dutch navy, the boatswain’s duties include keelhauling as well (see “Keelhauling, in Living Color”).
In battle the boatswain and his mates, along with some of the other crew if the occasion warranted, were tasked not only with repairs to the rigging, but often with managing the sails. Shortened sail was typically used in battle in order to reduce the number of crewmen required to manage it, leaving the majority to handle the guns great and small, and the small arms as well.
In the modern US Navy, the boatswain–thankfully, after a brief period of insanity in which ratings were abolished, they’re now restored–has similar duties, in particular in regard to the various rigging aboard modern ships, the hoisting of boats and stores, and so on. The boatswain’s pipe remains ever present, and modern US Navy boatswain’s calls, performed by the US Navy band, can be found here.
The most common call I remember was “Piping the Side,” that is, the piping of a captain, admiral, or on occasion, some dignitary over the side during a formal ceremony shipboard or ashore. I remember various other calls shipboard as well, on both surface ships and submarines, but for the life of me I can’t remember them in detail except that “All Hands” was common, or perhaps it was “Pass the Word,” and, like everything else, the calls came over the 1MC (the general PA aboard a US Navy ship or shore command) except in the case of the piping the side ceremony, for we were always present for them.
But boatswains then and now had other means to motivate seamen: language, particularly when spiced with “cursing and swearing.” Sailors in general have long been known for their use of foul language, and boatswains in particular had, and have, a reputation for creativity, eloquence, wide vocabulary, and, as often as not, lyricism in their swearing. Ned Ward noted that:
“He must certainly believe there can be no such Thing as Hell-fire under Salt-water, else he would never be giving himself so oft as he does to the Devil; but how frequently soever he damns himself, he is sure to damn others much oftener. In short, he’s a Fellow that will throw away ten times more Oaths and Strokes in hoisting out a Barge, than in boarding an Enemy.”
The boatswain’s excuse for his language is a simple one: “But, Zounds, he’ll cry, what would have me do? A man without Noise, is a Thing without a Soul, and fit for nothing but a Pissing-Post.”
As for my own experience, I never knew a real US Navy boatswain, at least not a Chief Boatswain’s Mate, who couldn’t out-swear anyone except another boatswain. A boatswain’s work–dealing with fouled lines, for example–naturally inspires foul language, which in turns lubricates the work at hand and helps get it done. At times I’d swear it has motivated not only crew but rigging or equipment itself.
My favorite example of a boatswain’s cursing, however, or perhaps my second favorite (I’ll save a particular modern description for a later post), may be that of Ned Ward’s Royal Navy boatswain, whose elegant oxymoron is straight to the point:
“Get up, all Hands to Prayers, and be damned.”
REFERENCES (Not Cited in Detail Above)
Anon. Observations on the Last Dutch Wars, in the Years 1672 and 1673. London: 1679.
Nathaniel Boteler. Boteler’s Dialogues. Edited by W. G. Perrin. London: Navy Records Society, 1929.
Benerson Little. Chapter 14, “Tarpaulin Cant and Spanish Lingua,” in The Buccaneer’s Realm: Pirate Life on the Spanish Main, 1674-1688. Washington DC: Potomac Books, 2007.
Henry Teonge. The Diary of Henry Teonge. Edited by G. E. Manwaring. New York: Harper & Brothers, 1927. (Teonge’s original manuscript was first published in 1825.)
United States Navy. Bluejacket’s Manual. 1941.
Ned [Edward] Ward [By the Author of the London Spy]. The Wooden World Dissected in the Character of a Ship of War, 7th ed. London: Booksellers of London and Westminster, 1760. Originally published in 1707.
Copyright Benerson Little 2017. Last updated May 3, 2017.
The content in this post is more background on than digression from the general subjects of this blog–swordplay and swashbucklers–, for what is either without fencing technique? The following fencing books are my recommendations for fencers across the spectrum, from early modern historical to “classical” to modern “Olympic” competitive. It includes sections on the modern Olympic weapons, classical fencing, rapier, smallsword, various cut & thrust, theory, Japanese texts, and more.
The list below, although quite long, is not exhaustive—there are many good fencing books not listed (and some more bad than good as well). Some are not listed simply because I have not yet read them. The history list in particular is abridged due to sheer volume, but less so than in past years, and I have not yet begun to include much in the way of mid-19th century works or of books on swords as opposed to swordplay. Fencing books can be very useful, but are no substitute for proper instruction and diligent practice. See the end of the list for suggestions on acquiring the books listed here, or for that matter, many books in general.
The first fencing book I ever read, in 1975 or 1976, was Bob Anderson’s All About Fencing, along with a beginning text by Nancy Curry or Muriel Bower, I can’t recall which, probably the former. These were followed by, once I started fencing in 1977, either Curry or Bower’s book (the latter I think, or so my faulty memory suggests), then Charles Selberg’s Foil (and when it was published, his Revised Foil), Michel Alaux’s Modern Fencing, Marvin Nelson’s Winning Fencing, and, in 1980, Imre Vass’s Epee Fencing, soon followed by Szabo’s Fencing and the Master. From that point my interest in fencing texts exploded. My earliest years of fencing education, however, were dominated by fencing lessons, verbal instruction, and oral histories, not fencing books. Notably, my epee instruction in technique was derived in large part from Vass. Its general method of instruction was derived directly from Szabo, his master Italo Santelli, and other notable Hungarian masters such as Gyorgi Piller–yet never for four years were the works of Vass or Szabo recommended to me. They were, in essence, above my ability at the time.
As Italo Santelli put it, fencing is something you do, not something you write (and therefore read) about! Thus were my early years filled with learning to fence not by reading but by fencing, fencing, and more fencing. That said, the study of fencing texts does have an important place in learning to fence: it broadens one’s knowledge of the subject. Fencing books provide a map to the world of swordplay. They can also point out errors in technique, training, and tactics (although a fencing master is always better for this), and can reorient one’s perspective in certain cases.
Associated fencing quotations can be found here.
Essays on Fencing & Life
So rare are these essays that I’ve found only one to list so far, although occasionally the subject is touched upon in prefaces to fencing books. Arguably, Bazancourt’s Secrets of the Sword and Burton’s The Sentiment of the Sword occasionally connect fencing to life in general, and Gravé’s Fencing Comprehensive has a sense of this as well. All three are noted below.
L’Escrimeuse by Emma Lambotte, 1937. A delightful essay on fencing, on being a woman fencer, on fencing’s connection to and reflection of life, and on the characters of various fencing nationalities, among many other brief subjects. Mme. Lambotte was a noted Belgian poet and the muse and patron of painter James Ensor.
Why have I placed Modern Epee—that is, epee as fenced from the 1930s to the present in its various forms—first among books on technique? Because it’s the best starting point for most budding fencers today, even if their ultimate goal is classical or historical fencing. It is by far the most popular modern competitive weapon (it looks like swordplay, its judging is simple, it much more resembles sword-fighting with sharps than either modern foil or saber, it is very “democratic” in that the weaker fencer always stands a chance, as some have put it), and—if taught appropriately via a classical foundation as it should be—is an excellent foundation for historical and classical fencing. Modern competitive foil and saber have become largely useless for this, both as fenced and as taught, for they’ve given up the classical notion derived from combat that attacks in invitation–with the point non-threatening and the arm not extended or extending–would be suicidal with real weapons.
It should be noted that some modern epeeists consider not only classical epee technique (point d’arrêt technique, especially non-electrical, and true dueling technique), but also “modern classical” (electrical pre-Harmenberg, so to speak) technique to be obsolete. This narrow view has no basis in fact except to some degree in the case of some elite (world class, that is) epeeists. Purely classical and modern classical epeeists can, and often do, fence as far as a solid A, or national, level, and classical technique is the foundation of elite epee technique. In fact, elite women’s epee retains a significant amount of so-called classical technique, and the compiler of this list is well-acquainted with a Greek-American epeeist some 70-plus years old whose classical, very old school straight arm dueling technique can still give even young elite epeeists fits.
Note, however, that the definition of classical fencing has changed over time and continues to change today. Even so, one need only read Achille Edom’s 1910 book on epee fencing (see below) to realize that much of what is considered new in epee is in fact more than a century old. In other words, epeeists should not consider older epee texts, nor any epee style of the past century or more, as unworthy of practical study.
Fencing with the Epee by Roger Crosnier, 1958. A thorough description of modern classical epee technique, still very useful today. Prof. Crosnier’s book on foil fencing (see the Foil section) should be read hand-in-hand with his epee text.
Epee Fencing: A Complete System by Imre Vass, 1965 in Hungarian, 1976 1st English edition, revised English editions 1998, 2011. The most thorough epee text ever written. That said, highly recommended for epee coaches at all levels, recommended only with caution for intermediate to advanced fencers (at least three to five years or more significant experience)—but not for beginners. There is much useful, often profound, material, but some sections can be skipped entirely by some fencers, and others require sufficient epee fencing experience in order to profit from them. The revised editions were edited by fencer and publisher Stephan Khinoy, and amplify and supplement the original text in places.
The latest edition suggests the need for such classical training today, in spite of the so-called “new paradigm” (see Harmenberg below, his book is also published by Khinoy). I agree; in fact, my fencing master’s thesis (soon finished I hope, albeit delayed by fiction and non-fiction projects, and overwhelmingly by a pre-kindergartner and his younger sister) is based on the same premise. Even for those relatively few fencers (as compared to the entire body of epeeists) who wish to and are able to emulate Harmenberg’s sport methods, a solid base of “modern classical” epee training is still necessary. For most epeeists, even superior amateurs, modern classical technique is all they’ll ever need.
Again, caution is advised when studying the book; it’s best to have a solid understanding of fundamental epee technique and theory before reading it. In fact, it helps to understand the Italian school in order to understand Vass’s theoretical framework: Luigi Barbasetti’s book on foil (see below) is a good start. Vass trained international medalists József Sákovics and Béla Rerrich, both of whom went on to become leading epee masters and national coaches, the former in Hungary, the latter in Sweden, with numerous international champions to their credit. He also trained four-time Olympic gold medalist in epee Győző Kulcsár, who later as a fencing master trained two-time Olympic gold medalist in epee Timea Nagy. József Sákovics, considered by many to be the first “modern” epee fencer, died in 2009, Béla Rerrich in 2005, and Győző Kulcsár in 2018.
La Spada: Metodo del Maestro Caposcuola Giuseppe Mangiarotti by Edoardo Mangiarotti, the Comitato Olimpico Nazionale Italiano, Scuola Centrale Dello Sport, and Federazione Italiana Scherma, 1971. Epee as taught by the famous Guiseppe Mangiarotti: a thorough exposition of his method. Beginner-friendly, too, at least if you read Italian or have a working knowledge of fencing technique and language along with a background in Romance languages other than Italian. Includes excellent illustrations of blade positions, better perhaps than in any other epee text. (Side note: the book even includes illustrations from the works of Vass and Szabo. Kingston and Cheris in this section also have excellent illustrations of blade positions.)
Prof. Mangiarotti, who studied under Italo Santelli as well as under other masters Italian and French, was an Olympic fencer, seventeen-time Italian national epee champion, father of famous champion Edoardo Mangiarotti as well as of noted fencers Dario and Mario Mangiarotti, and founder of a famous epee school in Milan, still in existence, that blended the French and Italian schools and produced champions for decades. Edoardo won 13 Olympic medals and 26 World Championship medals, and was known for his fluid, very Italian footwork as well as for his strategy of attacking hard and fast early on to get touches, then playing a defensive game. Highly recommended. See also Mangiarotti and Cerchiari in the “Combined Modern Epee, Foil, and Saber Texts” below. For the French school, see Alaux and Cléry in the same section.
Epee Combat Manual by Terence Kingston, 2001, 2004. Highly recommended beginning to intermediate text. Should be required reading for new epeeists. Pair with How to Fence Epee by Schrepfer (below). Unfortunately, Kingston’s book is unavailable in the US anymore, and his web store ships only to the UK and EU (or I suppose he still ships to the EU after Brexit–a lot of small businesses are having issues doing so).
Fencing: Steps to Success by Elaine Cheris, 2002. Actually an epee and foil text, but the epee stands out more to me, and is very useful to both recreational and competitive fencers. Includes training drills as well as excellent illustrations of technique, including from the fencer’s point of view. The book is a good companion to Kingston’s book above. Cheris is one of the great US fencers in both epee and foil.
Epee 2.0: The Birth of the New Paradigm by Johan Harmenberg, 2007. For advanced epeeists and coaches only. There is a second edition–Epee 2.5 I think–that I have not yet read, therefore some or all of the criticisms below might be valid for the new edition. Importantly, the book is suited, in Harmenberg’s own words, only to truly advanced fencers, although this has not stopped many insufficiently experienced epeeists, and even their coaches, from foolishly assuming they can emulate its technique and tactics—and in doing so, impale themselves by repeatedly running onto their adversary’s point from distance much too close. This is often quite funny to watch, especially in the case of exceptionally tall epeeists, with their naturally slower tempo, who throw away their height advantage.
Although there is very useful material in the book, some of Harmenberg’s recommendations are controversial and not all masters agree with the described training regimen, except, again, perhaps in the case of elite epeeists. Further, Harmenberg at times appears to take more credit than he deserves, albeit innocently, given that other epeeists were also knocking at the door of his new style, and had been for some time. Harmenberg, however, was arguably the first elite epeeist to succeed with it at the Olympic and World Championship levels. That is, the first to use “outstripping” attacks—beating the double touch timing by a hair—to the body as a primary technique and tactic, although others, the Soviets notably, had already been using the fleche in renewed attacks to great effect in an outstripping rather than conventional tempo. (Vass calls these sorts of touches “combat” techniques.) It was also common to see some epeeists below the international level in the 60s and early 70s use technique similar to Harmenberg’s, but they were unable to succeed with it against elite modern classical, aka conventional, epeeists.
Additionally, some of his criticisms, even though thoroughly honest, of the modern classical technique are not entirely valid. For example, his objection to epeeists who use, and their masters who teach, attacks with a fully extended arm prior to the lunge is somewhat misplaced: although some fencers and masters did adhere to the technique (and some, unbelievably, still do), the lunge with near-simultaneous extension (likewise, “progressive attacks”) was commonplace three or more centuries prior, and also in use again by many masters and fencers beginning a few decades prior to Harmenberg’s era, and some lineages of masters had never taught otherwise. (“Historical” fencers, please don’t bother to argue with me on this smallsword history, simply open up and read the first two dozen period smallsword manuals you lay your hands on.)
Even so, many early epee masters did teach that the attack via lunge, almost always to the arm, must be made with the arm fully extended first, although others argued correctly that simultaneous or near-simultaneous extension and lunge was faster, as Harmenberg likewise deduced (as did masters in past centuries). Indeed, if you intend to hit the body with an attack, you’d better not extend first then lunge! If you do, you’ll lose a tempo, warn your adversary, and probably get successfully parried or counter-attacked. Early epee masters generally avoided recommending attacks to the body due to the increased risk of double touches—and the increased risk of jail time for murder or manslaughter. (Roughly seventy percent of modern epee touches are made to the body thanks to the flat tip of the epee which is less effective to the arm when compared to the old jacket-tearing points d’arret which were highly analogous to the sharp point of a dueling epee.)
The argument remains as to whether Harmenberg’s described techniques and tactics are truly revolutionary, or merely one of the final steps in the evolution of sport epee, in that the “paradigm” takes complete advantage of the 20th to 25th of a second tempo provided by the electrical apparatus, and entirely disregards any consideration of classical tempo. Put plainly, the book is Harmenberg’s exposition of how HE fences. Tellingly, whenever I ask elite European fencers and masters about the book, they shrug their shoulders. If they do happen to know who Harmenberg is, their answer is something on the order of, “Well, if it worked for him, good, but there are many other ways to fence epee…” That said, far too many epee teachers in the US have adopted his theory, all too often too early for their students and quite imperfectly, although lately I see this fad–and there are many fads in fencing–fading.
The book is based on the Swedish epeeist’s experiences leading up to his 1977 world championship and 1980 Olympic gold. In other words, however profound the book may be to sport fencing, its author’s ideas were not new in 2007—only their publication was.
Epee Fencing by Steve Paul et al, published by Leon Paul, 2011. A very useful text for the modern competitor. Positive criticisms: thorough and well-illustrated. Negative criticisms: 100% emphasis on epee as pure sport (as opposed to epee as dueling swordplay or martial art modified for sport) and a magazine-style layout (or in imitation of a badly-designed webpage?), including a thin magazine-like cover that will not hold up to much wear.
How to Fence Epee: The Fantastic 4 Method by Clément Schrepfer, 2015. Translated from the original French edition, Faire de l’épée: La méthode des 4 fantastiques, by Brendan Robertson. Not a manual of technique per se, but suggestions on how to use it. A very useful book, with only little to find disagreement with, and mostly in terms of style or tradition and not practicality. Highly recommended, especially for beginning to intermediate epeeists. An excellent companion volume to the Epee Combat Manual by Kingston (above).
See also the “Combined Modern Epee, Foil, and Saber Texts” section, especially Alaux, Barth/Beck, Cléry, de Beaumont, Deladrier, Lidstone, Lukovich, Mangiarotti/Cerchiari, and Vince, as well as the “Epee de Combat” section in general, and Castello and Gravé in the “Classical Fencing” section.
The Epee de Combat or Dueling Sword:
Epee for Actual Combat, In Other Words
All of these works are of use to the modern epeeist, and all demonstrate that there is, overall, little new in modern epee fencing. Even the pistol grip was growing in popularity in France by 1908, although its use in dueling was prohibited and it would be the Italians who found in it the perfect replacement for their rapier grip. Only the tactics and techniques of “out-stripping” (of trying to hit a 25th to a 20th of a second before one gets hit), and of the unrealistic abomination of flicking (and arguably, of foot touches), are new. (Strictly speaking, the flick is only new to epee: it was used by a fair number of foilists in the 19th century.) Flicks and foot touches are too dangerous to attempt with an epee de combat: they would cause little damage while leaving the user vulnerable to more damaging, even fatal, thrusts, not to mention that the blade of a real dueling epee is too stiff to permit the flick. On the other hand, double touches have long been the bane of the salle or sport fencer, even long before the advent of electrical scoring and its too short timing–there have always been fencers trying only to get the first hit, however they may, as if playing tag.
Le jeu de l’épée by Jules Jacob, as reported by Émile André, 1887. Lessons of the fencing master who essentially created modern epee in the 1870s. By the third quarter of the19th century the foil had become a “weapon” of pure sport, although it had been heading in this direction since the late 17th century. M. Jacob adapted smallsword technique to create a form of swordplay suitable to surviving a duel with the 19th century épée de combat, or mere epee, as its modern descendant is called. The technique emphasized longer distance and hits to the arm—and thereby also reduced convictions for manslaughter and murder.
The book outraged many foil purists, who subsequently went into sophistic denial when his epee technique proved far superior to foil technique in a duel: Jacob’s less technically proficient epeeists were deadly against even highly skilled foilists, who maintained that the only difference between the technique of the salle and of the duel was the accompanying mental attitude. (If true, attitude was clearly deficient among the fleurettistes who fought duels with Jacob’s épéistes.) The book plainly points out the difference between the jeu de salle (sport fencing) and the jeu de terrain (swordplay of the duel), and reminds us that many of the best duelists were usually not “forts tireurs”—good sport fencers, that is. The same would doubtless be true today. Highly recommended. There is, I believe, an English translation now available.
L’Épée by Claude La Marche [Georges-Marie Felizet], illustrated by Marius Roy, 1884, reprinted 1898 or 1899; also The Dueling Sword, an English translation edited and translated by Brian House, 2010. Very thorough, and in its translation was for a long time the only early French epee and epee dueling manual available in English. Real swordplay, in other words, and useful even to epeeists today. To a degree the book is a somewhat foil-based response to the purely epee-based technique of M. Jacob (see above). M. La Marche differs from M. Jacob on some points, particularly on the value of attacks to the body, of which M. La Marche is in favor, as were smallswords-men (and smallswords-women).
The modern trend in epee, at least at the elite levels, and among instructors who train less skilled fencers as if they were elite fencers, emphasizes attacks to the body. Where to emphasize attacks—arm or body—has been an ongoing re-argument ever since the flat electric tip was introduced to replace the much superior “pineapple” tip in the early 1960s, rendering arm shots more difficult. The epee fencing argument over arm versus body derives from late nineteenth century dueling practice—arms hits could easily settle honor in the modern age in which killing a man in a duel would surely send the perpetrator to prison, and the longer distance that facilitated them was simply safer. For reasons that would take up too much space here in discussion, the body was also the primary target in the smallsword era—but the dangers of this distance were mitigated by the use of the unarmed hand to parry and oppose as necessary, and by the extensive use of opposition and prises de fer. Similar varying perspectives are seen in sport epee today. Notably, and often forgotten by some fencing teachers, roughly thirty percent of epee touches today are to the arm, not the body, even with the emphasis on the body as the better target for the flat modern epee point. A highly recommended book, and useful even to modern competitive epee fencers.
Manuale Teorico-Pratico per la Scherma di Spada e Sciabola by Giordano Rossi, 1885. A manual of the Italian dueling sword and dueling saber, very practical, very classically Italian although it does include some “modern” usages, including a choice of Italian spada with a curved grip, akin to a later French grip, with a significant set to the blade, although it doesn’t seem that this style of Italian grip won many fencers over–but did it perhaps influence the French to increase the curve of their grip? I haven’t seen any French foils or epees circa the 1880s with such a severe curve. The book demonstrates a technique quite useful to epee, and in fact the influence of the Italian school would become a significant part of modern epee.
L’Art du Duel by Adolphe Eugene Tavernier, 1885. Advice on dueling. Suggests tactics and techniques for the epee duel, including how to deal with the inexperienced adversary, the average one and, of course, the expert swordsman. Of interest to the student of fencing history and the duelist, and one of the few books to deal with the subject of tactics against fencers of various levels of competence.
L’Escrime a l’épée by Anthime Spinnewyn and Paul Manoury, 1898. Excellent work on the epee de combat, with much practical advice on epee fencing, training, and teaching applicable even today. Among the many worthwhile admonitions is that the recovery from the lunge is just as important as the lunge itself–both must be as fast as possible, especially if the epees are pointed.
Les secrets de l’épée by Baron César de Bazancourt, 1862, published in English as Secrets of the Sword in 1900, reprint 1998. Practical advice on hitting and not getting hit from the mid-19th century. Much of the advice sounds quite modern. Likewise highly recommended.
L’escrime, le duel & l’épée by Achille Edom, 1908. A remarkably prescient and practical work, one of my favorites, and one that demonstrates plainly that there is little new in epee fencing today. In particular, M. Edom, a Frenchman, recommends the more physical Italian style over the French, prefers the Greco offset guard and the pistol grip, and bemoans the rise of sport technique such as wide angulations to the wrist—thrusts that with dueling epees (with sharp points, that is) would not stop a fully developed attack to the body, leaving the attacker with a wound to the wrist, and the attacked with a possibly fatal wound to the chest, neck, or head.
The origin of these angulations was due much in part to the single point type of point d’arrét used by many at the time: a small ring was soldered to a real pointed blade a centimeter or so from the tip, then wrapped with heavy thread to act as a barrier to full penetration. Unfortunately, this heavy wrapping prevented hits at the shallow angles a real point was capable of, thus a new emphasis on unrealistic wide angulations. The three point “dry” and four point electrical, and later “pineapple” electrical points d’arrét greatly corrected this, but the subsequent modern flat point (brought into use in the early 1960s in order to quit tearing up the new nylon jackets perhaps?) inspired the popularity of severe angulations once more. In fact, almost any stop thrust to the arm would not arrest a fully developed attack, although you might have the satisfaction, as your adversary’s attacking blade penetrates your chest, of pinning his (or her) arm to his (or her) chest as he (or she) runs up your blade. Highly recommended.
L’Escrime by J. Joseph-Renaud, 1911. One of the best of a number of outstanding epee books published during the Golden Age of epee and books on the subject, by far. The author does a by far superior job explaining the faults in French foil for dueling, comparing French foil to Italian (thus explaining why Italians successfully trained with their foil for the duel with the spada or epee de combat but the same could not be said of the French), and explaining a wide variety of epee technique, both that which is correct and that which is faulty but commonly seen. Thoroughly illustrated with photographs, the volume is of great use to the modern epeeist, historical or classical epeeist, and fencing historian and theorist. Joseph-Renaud is a member of the community of epee masters for whom the lunge must always be preceded by a fully extended arm, and he does not recommend attacks to the body. Much of the reasoning for this is to protect the duelist from a potentially mortal wound in himself or in his adversary, the latter of which would result in criminal prosecution and the former of which, well… In fact, as smallswords-men of past centuries, and even the author himself, knew, the lunge with the arm extending near simultaneously (just a hair ahead, that is) is the fastest attack by lunge, and mandatory if one is attacking the body, not the arm.
Tratto Pratico e Teorico Sulla Scherma di Spada, by Eugenio Pini, 1904. Excellent and thorough practical treatise on swordplay with the Italian spada or dueling sword by the Italian master who epitomized a form of swordplay that emphasized physical strength and speed–no, this emphasis isn’t new to fencing, nothing really is, in fact. At the time the book was written, the school of the Italian dueling sword was based on the fioretta or foil, which was used for training instead of the spada itself. Pini points out correctly that at the time the French schools had separated foil from epee, and epeeists were now taught with the epee rather than the foil, although this would soon change as French foilists, unhappy at being usurped by the “modern school” of epee and its epeeists, would attempt to reassert their dominance via a foil-based school of epee. For a long time the Hungarian school, via the Italian, kept up this tradition of training epeeists first as good foilists. In fact, it’s how I was trained more than forty years ago. However, the modern divergence between foil and epee has made this almost impossible.
The Sentiment of the Sword: A Country-house Dialogue by explorer, adventurer, linguist, scholar, writer, and swordsman Sir Richard Burton, 1911. As with Bazancourt’s book which inspired this Anglo version, not strictly an epee manual, but still useful for understanding swordplay in the sense of the need to hit and not get hit, as opposed to hitting according to conventions which deny touches not made in accordance with said conventions, but which in a duel would be quite real, and in many cases fatal. (Thus the practical and, if in a duel, fatal flaw in foil fencing.) Burton’s book also has some quite modern advice on learning to fence. Burton had used a real sword many times in bloody combat, and was known as an extraordinarily fierce warrior. Highly recommended.
Épée, par J.-Joseph Renaud, 1913, in L’Escrime: fleuret, par Kirchoffer; épée, par J. Joseph Renaud; sabre, par Léon Lécuyer. Excellent advice on training, competition, and dueling, including a technical argument and diagram describing when to use sixte and its counter, and when to use quarte. This latter matter is more important than it seems, for most fencing instructors teach the usual parries and imply that any of the two classical French parries can be used in their appropriate quadrants in any circumstances (true in theory but not in practice) and should be varied in order to keep the adversary guessing (true in both theory and practice, but often difficult given that most fencers under stress have a preferred parry).
There are instances in which only a single parry—even in epee and smallsword, in which low line parries may be used in the high line as well, often providing several possibilities in each quadrant—is viable. For example, quinte (low quarte) against a powerful wide-angled attack, especially if directed toward the abdomen. Any other parry will often be forced or will fail to defeat the angulation. In fact, this is why the parry was introduced. Or, against a wide, high, powerful, angulated thrust to the body in the high outside line (same handed epeeists), in particular when delivered via flèche by a tall strong fencer, a circle-sixte or even a circle-tierce will likely be forced even if timed well. A true prime will not defeat the angulation, and a common septime (Italian prime, mezocierco) must be taken too far out of line, exposing the arm to a simple disengage over the top. Octave and seconde cannot be taken effectively, for they too are likely to be forced. Only quarte or quinte (really just a low quarte) taken high with the point out of line, with a riposte to the head or possibly the neck or shoulder, is viable in most cases. A modified prime (high sixte/septime) can work but can be difficult to execute if the attacker is tall and strong. Best to stop such attacks on their preparation.
The book includes a discussion of the Italian school. Although M. Renaud grudgingly admits that Italian foilists are equal to their French counterparts, he disparages Italian epee and by implication its rapier origins, stating categorically that the French invented epee fencing and the Italians were no match for French epeeists. In fact, the Italian epee school would soon rise to equal prominence with the French, with Edoardo Mangiarotti becoming one of the great epeeists of the 20th century. (These include Frenchman Lucien Gaudin of the early 20th century, Hungarians József Sákovics and Győző Kulcsár of the mid- and late century. Johan Harmenberg (1976 – 1980) should probably make the list as well. Were I to include possible twenty-first century epee greats as well, I’d suggest Timea Nagy and Géza Imre of Hungary, and Laura Flessel-Colovic of France. Doubtless other epeeists could join this list.)
Naturally, M. Renaud avoids any discussion of what might happen were French epeeists to trade their epees for Italian dueling spadas. Compare his comments on the Italian school to those of Achille Edom above. Side bar: he notes that most French epee schools of the era had outside gardens for practice, in addition to the indoor salle. Pity we don’t have these today…
“Technique du Duel en Une Leçon Suivi des Règles usuelles du Combat à l’épée” by Georges Dubois, published in La Culture Physique, 1908. Excellent work based on the author’s experience preparing would-be duelists for the duel, including those who have never held a weapon before. Disposes with many myths regarding dueling: he points out that most duelists weren’t fencers, and that the epee was designed to help keep both combatants alive and thereby avoid the charge of manslaughter or murder. Never was a weapon so well designed to keep adversaries from killing each other, the author notes.
See also the “Classical Fencing” section below.
Combined Modern Epee, Foil, and Saber Texts
The Art of Fencing by R. A. Lidstone, 1930 and Fencing: A Practical Treatise on Foil, Épée, Sabre by R. A. Lidstone, 1952. The second significantly revised book is more thorough, with a very useful, clearly written epee section with plenty of exercises for master and pupil. Discusses tactics, unusual epee en gardes, and, in the foil section, unusual displacements, most of them Italian. It even describes Professor Guissepe Mangiarotti’s “jump back”—an epee counter-attack made while leaping back and landing on the front foot. The second edition is an excellent practical work drawing from both the French and Italian, highly recommended. In fact, along with Szabo’s work, one of the most useful books on fencing on this entire page. For fencing historians, a comparison of the first edition to the second edition shows how much, and how quickly, modern fencing changed during the first half of the twentieth century.
Fencing by Joseph Vince, 1937, 1940, revised edition 1962. Illustrated by US saber champion, designated Olympic team member (until he suddenly abandoned competitive fencing for the stage), and swashbuckling actor Cornel Wilde. Vince was a US national coach and national saber champion who kept a salle in Beverly Hills for decades, and, until 1968 when he sold it to Torao Mori, owned Joseph Vince Company, a fencing equipment supplier that provided, among its complete line, classically dashing fencing jackets of a fit and style unfortunately no longer seen. In fact, my first fencing jacket was a “Joseph Vince, Beverly Hills” made of a heavy, high thread count cotton with silver-colored buttons. The left, that is, unarmed, sleeve was lighter and cuffed. An elegant style truly to be found no more.
Fencing for All by Victor E. Lawson, 1946. The front cover gives the title as How to Fence. A very short basic text, only slightly more than a pamphlet, notable only to the fencing historian, particularly him or her interested in the history of women’s fencing. Lawson’s book actively promotes women fencers, although most appear to be aspiring actresses and models, and the caption of one photograph strongly suggests that Lawson’s goal is to promote his fencing salle in NYC as a means of attaining poise &c for actresses (I use the now generally discarded feminine of “actor” here because “female actor” sounds a bit stilted, and in Lawson’s day he appears to have been recruiting women primarily, not men). Notwithstanding his purpose, Lawson’s little book does actively promote women fencers, and has several useful photographs of women in fencing attire of the 1940s, quite different from today. It also has a good summary of fencing rules at the time. Other titles in the series include Police Jiu Jutsu, Scientific Boxing, and How to Be a Detective–everything to to prepare the reader to be the dark sword of a film noir.
Modern Fencing: A Comprehensive Manual for The Foil—The Epee—The Sabre by Clovis Deladrier, 1948, reprint 2005. Strong epee section. Includes exercises, lesson plans, and excellent practical advice. Readers should not be put off by some terms and practices that seem dated, for example Deladrier’s use of the classic older terms low quarte for septime and low sixte for octave, and his preference for the center-mount epee guard. The epee section is worth serious study. The teaching advice and lesson plans for advanced epeeists called upon to teach at times is also a useful review for experienced epee coaches. Deladrier was the fencing master at the US Naval Academy.
Fencing Technique in Pictures, 1955, edited by C-L. de Beaumont, assisted by Roger Crosnier, with contributors Léon Bertrand, Bela Balogh, and Raymond Paul. Basic foil, epee, and saber instruction by a who’s who of UK fencing masters of the past century, in line drawings and photographs, the former of which look a bit like the robots in the old comic book, Magnus, Robot Killer. Useful information, still applicable today. The book is one of three on this page attempting to show action in sequence in more than two or three steps using photographs or illustrations, the other two being Bertrand and Anderson. I suspect the format of the images and size and color of the book may have influenced Bac Tau’s excellent edition (see below) which in some ways might be an homage. “Dedicated by permission to The Rt. Hon. Sir WINSTON CHURCHILL K. G., O. M., C. H., M. P. First Honorary President of The Amateur Fencing Association.”
Fencing: Ancient Art and Modern Sport by C-L de Beaumont, 1960, 1970, revised edition 1978. Solid “classical” text on electric foil and epee, and dry saber by a noted British master and Olympic fencer. Excellent, perhaps best anywhere, description of the character and characteristics of epee fencing (de Beaumont was an epeeist). Good chapters on tactics and training.
Escrime by Raoul Cléry, 1965. A thorough, practical text, absolutely one of the best, by one of the great French masters. Highly recommended. The epitome of the French school in foil and epee, but the saber is Hungarian and is so noted.
La Vera Scherma by Edoardo Mangiarotti and Aldo Cerchiari, 1966. A very useful book for all three weapons, although I’m naturally more disposed to its epee section, particularly given Mangiarotti’s fame in the spada. Exceptionally well-illustrated. In Italian, and the modern classical Italian school, of course. An excellent beginning to intermediate text on all three weapons. One of the virtues of this book are photographs of technique in action, showing what fencing actions actually look like as performed by elite fencers. Most fencing books use posed photographs or otherwise idealistic illustrations, providing elevated expectations of the often unattainable except at slow speed with a conforming partner. There is nothing wrong with illustrating the ideal, providing it is pointed out that it is exactly that, an ideal, seldom to be seen in practice even by elite fencers. The book also includes line drawings of ideal technique.
Modern Fencing: Foil, Epee, and Saber by Michel Alaux, 1975. A thorough introduction to all three weapons by one of the great French masters who taught in the US. Short but good sections on bouting tactics, lessons, and conditioning. Excellent beginning text for the novice fencer. The French school, of course.
Fencing: The Modern International Style by Istvan Lukovich, 1975, 1986. By the author of the noted Electric Foil Fencing. Excellent if brief epee section, very useful to both epeeists and their teachers in that it covers and explains most of what most epeeists will ever need to know. The Hungarian school. Highly recommended for all three weapons.
L’Escrime by Jacques Donnadieu, Christian Noël, and Jean-Marie Safra, 1978. Solid introductory to intermediate text, quite well-illustrated with many photographs of fencing technique, including of technique in competitive action. I’m also somewhat partial to the book given that its images, taken as they were at the time I began fencing, are nostalgic.
Fencing: Techniques of Foil, Epee and Sabre by Brian Pitman, 1988. Solid beginning to intermediate text.
Fencing by Bac H. Tau, 1994[?]. Includes thorough sections on training, tactics, and weapon repair. Excellent section on physical training for fencing, along with other highly useful appendices. Deserves far more attention than it has received. Highly recommended. The book size, cover color, design, and illustrations may have been influenced by–in homage to?–Fencing Technique in Pictures, edited by C – L. de Beaumont, 1955.
Foil, Saber, and Épée Fencing by Maxwell R. Garret, Emmanuil G. Kaidanov, and Gil A. Pezza, 1994. A very useful beginning to intermediate text.
Fencing: What a Sportsman Should Know About Technique and Tactics by David A. Tyshler and Gennady D. Tyshler, 1995. Good information but a very poor, almost unintelligible at times, translation from Russian. Supplement with the Tyshler DVDs (available from many fencing equipment suppliers), or better yet, simply refer to the DVDs. David Tyshler is a Russian master and Olympic and world championship medalist; Gennady Tyshler is a leading Russian master.
The Complete Guide to Fencing, edited by Berndt Barth and Emil Beck, 2007. The German school. A thorough, up-to-date text. Good sections on theory, performance, and athletic training (with a useful emphasis on high rep exercises). Good epee section, much derived from the highly successful Tauberbischofsheim school of epee founded by the largely self-taught Emil Beck.
The technique described in the books in this section is based on the 20th century rule that a foil attack consists either of a fully extended arm with point threatening—aimed at, that is—the valid target, or the later rule which permitted an extending arm with point threatening relaxed, and correctly so, in order to accommodate the highly useful and historically proven progressive attack. These rules—even the original requirement of an extended arm before the lunge, which is not ideal in combat— were rooted in dueling practice and therefore made more sense than the modern interpretation of an attack which is, frankly, often indecipherable and which under the original conventions of attack, not to mention in engagements with “sharps,” would be easily invalidated by a counter-attack. In other words, an attack should not consist of a bent, non-extending arm at any point, especially one with the point aimed at something other than the valid target. Attacks in invitation or otherwise with a bent non-extending arm are quite simply not in the spirit of staying alive. In other words, were the swords pointed, the modern attack would be simply suicidal. Or, put even more simply, fence epee until foil is fixed—if ever it is. The same for modern saber too.
Fencing with the Foil by Roger Crosnier, 1955. One of the best expositions of modern classical foil of the French school ever written in English. Excellent explanations of practical theory, including on tempo and the progressive attack. Frankly, excellent throughout. Epeeists should read it together with Crosnier’s epee text, foilists together with Lukovich’s foil text.
Foil Fencing by Muriel Bower [Muriel Taitt], 1966 et al. Numerous editions, prefer the latest (1996, Muriel Taitt). Solid beginning foil text, used over the four decades by thousands of beginning fencers, including in 1977 by the compiler of this list of books in a beginning class taught by Dr. Francis Zold. Or at least I think it was this text. Perhaps it was Curry’s instead? The second editon of Bower’s version includes as co-author Torao Mori–a noted competitive fencer and fencing master–who took over the Joseph Vince Co. fencing supplier on Crenshaw Blvd (and where I purchased my first fencing mask, jacket, and glove in 1977).
Fencing by Nancy L. Curry, 1969. Solid beginning foil text although dated in terms of “modern” foil technique and rules. Even so, a good text on core technique. The book is clearly intended to accompany a college-level beginning fencing class and here it succeeds, describing in basic terms the fundamentals that can be covered in a single semester. As with a few other texts, it has useful images of fencing technique taken from above in order to show correct relationships. Nit-picking here: in the acknowledgements, a reference to the famous Castello fencing supplier is written as Costello, a typo and surely not a hat tip to Abbott and Lou…
All About Fencing: An Introduction to the Foil by Bob Anderson, 1970, 2nd printing 1973. The book is unique in that the reader can, by flipping pages, see properly executed technique, and in a manner superior even to much of the modern fencing video available. There is a hint of two of sexism common to the era—Anderson states that only men can cope with the epee and sabre, for example, which is nonsense—, but few fencing books of the first seven or eight decades of the 20th century do not take such a view. Some might disagree with some of his brief fencing history as well, but the history in many fencing books is open for debate, based as it often is on common understanding as opposed to rigorous analysis.
Anderson was a British Olympic fencer and Olympic coach who became Hollywood’s leading swordplay choreographer, following in the footsteps of Fred Cavens and Ralph Faulkner. The fencing in Star Wars, The Princess Bride, and Alatriste are but three of his many film works. (His book is also one of the first two books on fencing the compiler of this list ever read. In fact, the book was in the Mount Miguel HS library—seldom anymore will you find fencing books in high school libraries.) Mr. Anderson died on January 1, 2012, and was inexplicably and inexcusably snubbed by both the 2012 and 2013 Oscars during the In Memoriam segment.
Electric Foil Fencing by Istvan Lukovich, 1971, 1998. Perhaps the most thorough electrical foil text, with excellent sections on fencing theory and requirements. Valuable even today, in spite of being written and published prior to the modern debasement of right-of-way conventions (i.e. attacks in invitation or “bent arm” attacks legitimized), although foil and saber were already inclining in this direction when Lukovich wrote his book.
Foil and The Revised Foil by Charles Selberg, 1975 and 1993 respectively. Thorough and very useful, with a good section on tactics. Highly recommended, but prefer the 1993 Revised Foil. Selberg also produced an extensive selection of instructional videos. Now on DVD, they are available from Selberg Fencing at http://www.selbergfencing.com/.
Basic Foil Fencing by Charles Simonian, 2005. A solid introductory text.
Foil Lessons With Victor by David A. Littell, 1994. A twenty-three page foil monograph far more useful than its brevity might suggest. It’s based on the author’s lessons from fencing master Victor Bukov. Useful in all three weapons, it presents a variety of tactical methods of attack, heavily distance-based. Readers familiar with Hungarian theory and practice (and thereby Russian and general East European) will recognize the descriptions.
Modern Sabre Methodology by Zoltán Beke and József Polgár, 1963. Translated from the Hungarian. Not “modern” in the sense of the most recent form of saber fencing, but “modern” in the sense of twentieth century Hungarian saber before saber’s debasement via the electrical scoring system and the degeneration of the interpretation of right-of-way. Worth acquiring if you can find an affordable copy, but if you do it will likely be by accident, unfortunately. Mine was. A very thorough exposition of every technique in the Hungarian saber repertoire. Not for beginners! One of my favorite passages is its excellent, simple definition of tempo, along with the very useful discussion following, all suitable to all three weapons—or to all swords in all places in all eras, in fact. It is also, from a historical perspective, easy to see how Hungarian saber influenced Hungarian epee, and therefore modern epee.
Fencing With the Saber by Roger Crosnier, 1965. Excellent, thorough work on “Hungarian” saber, second only to that of Beke and Polgár above. A suitable companion to Prof. Crosnier’s works on foil and epee. Note, however, that the terminology and categorization of technique is of the classical French school, not the Hungarian. The fundamentals are still useful today. Naturally, Prof. Crosnier does not permit the attack with the arm in invitation or otherwise bent…
Modern Saber Fencing by Zbigniew Borysiuk, 2009. Only if the modern “weapon” known as electric saber appeals to you. Still, a very good book, and the only thorough one on the subject in print in English. Unintelligible conventions plus attacks with the unextending arm held low in invitation while leaving the body nakedly exposed plus awkwardly cramped footwork plus hitting with the flat of the blade do not saber fencing make. The flat merely chastises: it’s the edge that cuts. The rest is simply too tiresome to debate.
The Cléry and Lukovich titles in the “Epee, Foil, and Saber” section have excellent instruction on Hungarian saber. Cléry also includes some detailed history of the origin of the Hungarian school. The Beck/Barth text includes excellent information on modern post-Hungarian saber. The famous Hungarian saber technique was destroyed principally by the electrification of saber, said by knowledgeable world class fencers and FIE sources to have been a compound decision based on the likelihood that the obvious flaws in electric saber would permit a less strict technique, particularly when aided by a debasement of right-of-way, and would thereby open international saber medals to more than the handful countries with the critical mass of elite saber coaches and sabreurs able to master in-depth the clear, clean technical repertoire of the Hungarian weapon; such technique was mandatory for correct judging.
For half a century Hungary reigned over twentieth century saber, and maintained a strong grip on it even after a number of sabreurs defected during the Melbourne Olympic Games in response to the 1956 Hungarian uprising against the Soviet Union. Recent US gains in modern electrical saber were based in part on the early willingness of US coaches to embrace the new “weapon,” while some of their European counterparts, who had previously excelled in saber, attempted to continue the use of traditional Hungarian technique.
Theory, Teaching, and Training
Fencing and the Master by László Szabó, 1977, 1997. Forward by Dr. Eugene Hamori, a student of Szabó’s (and my second fencing master), in the 1997 edition. The best book ever written on the subject of teaching fencing: the fencing coach’s vade-mecum. Highly recommended. Excellent material on theory and other aspects of fencing, besides the practical. Intermediate to advanced fencers will also find it useful, in particular for its sections on tactics, preparation, drilling, and stealing distance. Szabó, who trained a number of Hungarian champions, was one of Italo Santelli’s three protégés and a close friend of Dr. Francis Zold, my first fencing master.
László Duronelli and Lajos Csiszar were the other two Santelli protégés. Csiszar was master for many years at the University of Pennsylvania after emigrating to the US. Among his students were Dr. Eugene Hamori and Roger Jones, the latter of whom one day contacted me about writing a review of one of my books; during our conversation we realized we had the same ultimate fencing roots and identical views, understandably, on honor in fencing. Duronelli was master for many years at the fencing salle at Semmelweis High School, run by Semmelweis University, in Budapest. This delightfully old school salle, which has produced many champions, is still in existence, with László Szepesi, who helped bring saber gold to France, as its current master. Eugene Hamori along with Krisztina Nagy (a very talented fencer in both HEMA longsword and modern Olympic saber) escorted my wife and me on a visit to the salle not too long ago.
A Dictionary of Universally Used Fencing Terminology by William M. Gaugler, 1997. A well-researched fencing dictionary.
Escrime: Enseignement et entraînement by Daniel Popelin, 2002. In French. The theory and practice of teaching fencing and training fencers. Rather than use the typical pyramidal view of fencing from its base to its competitive elite at the point, M. Popelin suggests a truncated pyramid, whose range is from beginner to national level, to indicate the majority of fencers, and a cylinder on top of this to indicate international and aspiring-to-international fencers. He astutely notes that the majority of fencers do not seriously train to become elite fencers, for many reasons, and thus fencers should be trained differently according to their needs. In other words, the training of the “club” fencer, no matter how talented, should be different from that of the elite competitor. Or put another way, simply because a technique, classical or otherwise, is not used at the elite level is no reason for non-elite competitors to abandon it or, worse, never learn it.
Understanding Fencing by Zbigniew Czajkowski, 2005. Highly recommended for fencers and coaches interested in practical theory. Czajkowski is a leading Polish master whose students in all three weapons have earned gold at the Olympics and world championships.
One Touch at a Time by Aladar Kogler, 2005. The psychology and tactics of competitive fencing, by an Olympic fencing coach and noted sports psychologist.
Theory, Methods and Exercises in Fencing by Ziemowit Wojciechowski, 1986(?). By a world-class fencer and master. Foil-based, but still an excellent book for fencers and coaches of all three weapons. Good information on evaluating and dealing with an opponent’s tactical style, especially in foil, although, again, still useful in epee and saber.
See also Joseph Roland, The Amateur of Fencing, in the “Historical Fencing” section below.
(Modern Non- Electrical Technique)
Some of the books below (Barbasetti, Gaugler) use one of the several classical Italian parrying systems and numberings, as opposed to the French or modified French systems and numbering preferred by most teachers today. (There are also several French-based numbering systems, each differing slightly in the naming of a parry or two, or in the use of a parry, for what it’s worth.) All of the books below are useful to the modern electrical game, epee particularly, and to foil and saber at their fundamental level. At some point foil and saber may return to a more classical standing, rather than their present sport-dominated extreme artificiality, notwithstanding that foil has always been highly artificial, at least for the past 150 to 200 years, and moderately artificial prior to that. See also the texts listed in the “Epee de Combat” section.
Réglement d’Escrime by the Ministère de la Guerre, France, 1909 and other editions. A short treatise on foil fencing for the French military that provides a detailed look at the classical French school. Useful for classical fencers and historians, and, frankly, any fencers interested in French technique given that it remains sound today, at least as a foundation. Oddly, one would have expected the French military to have adopted the new epee technique rather than foil at this time, and even more so, would have emphasised the saber instead of either, given that it was still in use as a practical military arm at the time.
The Fencer’s Companion by Léon Bertrand, 1934 to 1958 and possibly later. A delightful little book, hardcover but pocket-sized, with enough information on all three weapons to substantially educate fencers from novice to intermediate-advanced, with fundamental lessons required at all levels of fencing. The book also includes useful advice on teaching fencing. Prof. Bertrand, son and grandson of famous British fencing masters of French descent, was one of the most influential masters in the history of modern fencing in the UK.
Among Prof. Bertrand’s useful advice is to learn to fence from the beginning with both hands, starting with the weak hand first for balance. It’s advice unlikely to be followed often but it has excellent virtues, and will likely be the subject of a blog post one of these days. Twenty-five years ago I began learning to fence left-handed in order to give left-handed lessons as well as right. Two years ago I seriously incorporated left-handed footwork, drills, and fencing into my regimen, equal those of my right-handed, with quite useful results. Prof. Bertrand also has advice for fencing against classical Italian fencers, in which the counter-quarte and Italian prime (a high septime) dominate. (Note for readers of Imre Vass: his “destructing parries” in quarte and septime correspond to–are equivalent to–these two classical Italian parries that in combination “cut the line” or “destroy” feint attacks in the high line and will parry high-low and low-high feint attacks in the inside line.)
I’d not be surprised to find that The Fencer’s Companion influenced All About Fencing: An Introduction to the Foil by Bob Anderson, in particular the images of technique in action. Whereas Prof. Bertrand includes a series of photos depicting various actions as shown above, Anderson took this a step further so that by flipping pages the reader can see the technique in action, similar to a primitive film. See also Bob Anderson’s book on this page.
The Book of Fencing by Eleanor Baldwin Cass, 1930. The book is particularly noteworthy as it was, and remains, one of only a handful of fencing texts written by a woman, even including modern texts. Ms. Cass was an American, and the book was, not surprisingly, published in Boston, birthplace both of conservative American Puritanism as well as liberal progressive thought. The epee section is sparse, as is often the case with many three-weapon texts, but the foil section is classically thorough. The book is also a great source on much of the fencing history of the day, and thus quite useful to the fencing historian.
The Art of the Foil by Luigi Barbasetti, 1932. The Italian foil. Includes a succinct but thorough history of fencing, a good section on tactics, and a glossary of fencing terms in English, French, Italian, and German. A useful book for epeeists as well. Barbasetti was one of several Italian fencing masters who carried Italian technique to Hungary and Austria, including to the Austro-Hungarian Normal Military Fencing School of Wiener-Neustadt in 1895 where he re-organized it. (Alfred Tusnady-Tschurl, one of my “fencing grandfathers”—the fencing masters of my own fencing masters—was a graduate and had studied under Barbasetti.) Italo Santelli was the most notable of these Italian immigrant masters. Santelli famously said that fencing is something you do, not something you write about—thus there is no book by Santelli in this list.
The Theory and Practice of Fencing by Julio Martinez Castelló, 1933, & Theory of Fencing, 1931. One of my favorite dozen or so fencing books. The author was trained in the early 20th century Spanish school, which was based on the best of the French and Italian, including a modified modified French grip that gave it the (theoretical) point control of the French grip with the strength of the Italian grip. (This grip is illegal in modern competition, although a pistol grip variation without an external weighted pommel exists that is legal, if you can find it.) The Neapolitan Italians were the first to formally attempt to combine the French and Italian schools on any scale, followed by the Spanish and, via the Italians, the Hungarians, although fencing “schools” have always adopted technique from each other and adapted it to their own methods. However, in both editions the author notes that the book, which he wrote to help “young men and women in the many schools and colleges” in the US, including those without a teacher, is not based entirely on any particular system, although he says the foil is mostly French, the saber Italian, and the duelling sword (epee) from his own experience.
The author notes that at the time he wrote his book the French school predominated in the US, and this remained largely true at least until the 1970s, in foil and epee especially, in spite of an influx of elite Hungarians in the 50s and 60s. (I was often told in the late 70s and early 80s that I fenced epee like a pentathlete, rather than conventionally, French, that is: in fact, I fenced like a Hungarian, although notably my lessons from two Hungarian masters and one French master–the famous Michel Sebastiani, French-Corsican, and a former pentathlete–were seamless and very similar.) Saber in the US was by the 70s largely Hungarian, at least among the best sabreurs. Castelló also writes that the predominant saber school circa 1930 was Italian, but in fact by then the Hungarian school, based on the Italian but modified to suit Hungarian attributes, was dominant. But this is a quibble, yet I’ll add one more: Castelló repeats the canard about the saber target being limited from the waist up because it was a cavalry weapon, i.e. one didn’t hit the horse. This is arrant nonsense, still repeated today. The target in saber is based on an old Italian rule that limited the target to the area above the waist in order to protect a duelist’s manhood. This is noted in numerous late 19th century Italian texts.
Castelló had also self-published a smaller volume, Theory of Fencing, in 1931. Copies could be ordered from the author himself for $2. The more detailed 1933 version was released by noted publishing house Charles Scribner’s & Sons. Both books–the later book is simply an expansion of the first in both text and illustration–are excellent sources of fundamental fencing theory and technique, knowledge often far too lacking in many fencers today. Castelló included an excellent description of the two most classical epee styles–“straight arm” and “bent arm”–and associated technique and tactics. (See Lidstone’s later edition above for others.)
Among Castelló’s students was Joseph Velarde, the West Point Military Academy fencing master whose stand against racial discrimination opened US collegiate fencing competition to black fencers. By coincidence I once worked with Velarde’s son, a former US Marine Corps officer, many years ago. A decade before that I had fenced with and competed against the founders of the old M.A.R.S. Fencing Club at the Marshall Space Flight Center in Huntsville, Alabama, most of whom were among the Apollo engineers who put humankind on the Moon. (The fourth was and is a brilliant Byzantine iconographer.) One of these veritable musketeers, Joe Dabbs, who has since passed away, had trained for years under Velarde. I have remained friends with all of these old M.A.R.S. fencers for almost forty-five years, and most were active fencers until recently as age and old injuries restrained them, although I still fence with one of them regularly (Elias Katsaros, with French grips and true “hit and not get hit” dueling practice only!). John Jordan and Donny Philips—the other two members of the Four Musketeers—are also still with us.
The Art of the Sabre and the Epee by Luigi Barbasetti, 1936. By one of the great early twentieth century masters. The epee section is quite sparse, and refers the student to the foil for much technique, a quite common practice in many of the Italian schools, given the similarity in technique and practice between the two weapons. Castello’s book (see above) has a far more thorough epee section.
Fencing Comprehensive by Félix Gravé, 1934. A delightful and, too my mind, too short fencing treatise covering foil and epee, filled with pithy fencing wisdom that has never been out-of-date. The author’s general observations are also noteworthy. For example, the truly classical fencer in form and technique is born, not made. (Not to worry, those of you in the majority who weren’t born to fit into the classical mold–even in the days of “classical fencing” such fencers were rare, and one need not fit this mold in order to be a great fencer. Anyone who tells you otherwise is ignorant and probably, to quote The Princess Bride, selling something.) Gravé has good advice for teaching, on dealing with some of the more common types of fencer, on tactics in general, and for conducting a duel. For the fencing historian, he has several drawings of period fencing grips, the French interchangeable epee system (l’épée démontable), various guards (coquilles), pommels, points d’arrêts, the development of the fencing mask, &c. Interestingly and happily, he mentions women epeeists, and has an illustration of the clothing they should wear (“men’s,” basically) long before epee was permitted to women in competition, a fact that pleases me immensely.
On Fencing by Aldo Nadi, 1943, reprint 1994. A famous Italian fencer’s thoughts, pompous, patronizing, and otherwise, on technique and competition. For Nadi, there was only one correct way to fence: his. Held up as a god by many modern “classical fencers,” Nadi despised the French grip as much as many of the same “classical fencers” today despise the pistol grip and advocate the Italian and [Nadi-despised] French grips. Let no one claim that blind self-irony and hypocrisy, often humorous, even hilarious, never reigns among pseudo-experts, or for that matter, among quite a few true experts.
The Science of Fencing by William M. Gaugler, 1997. A thorough modern description of purely classical Italian foil, epee, and saber technique. Pedagogical, as one would expect, and almost old school military in its technical presentation. Professor Gaugler, a student of Aldo Nadi and other great classical Italian masters, passed away in 2011.
Many books touch on fencing tactics, but to date I’ve found one devoted exclusively to the subject–and it’s one of the best books on the subject of fencing in general I’ve ever read.
Fencing Tactics by Percy E. Nobbs, 1936. By the 1908 Canadian Olympic Foil Medalist, the book is a delight to read and study, easily one of a handful of the most practical fencing books ever written, certainly one of my handful of favorites even if I don’t agree with everything–and is a book generally unknown to nearly all fencers these days. It is also one of only two books by Canadians on this list (see also Bac H. Tau), and both are outstanding. However, take heed: the book is based on classical notions of tempo and right-of-way, and in some ways is an exposition largely of how the author fenced (similar to the books of Nadi and Harmenberg, for example).
Mr. Nobbs covers tactics in depth, better explains the difference between the classical Italian (and by implication, Italo-Hungarian) school versus the French, discusses opposition thoroughly, points out how important footwork is to tactics, and captures well the spirit and practice of each of the three modern weapons. He also describes the difference between free fencing (loose play), competition fencing, and exhibition fencing–and particularly how one should fence and behave in each form. For example, the superior fencer should trade touches with the weaker in free fencing, rather than simply trying to hit as many times as possible.
Mr. Nobb’s discussion of opposition is quite useful, with educational observations on the role played by the bend in the blade as it hits, something that would not occur with real swords and their very stiff blades. This blade bending is less relevant today with electrical scoring in epee, but is still pertinent in the conventional weapons: for example, a counter-attack without priority but whose blade bend as it hits can help exclude the arriving valid attack. In other words, the valid attack might have arrived were the blade to remain straight. The book also describes useful footwork beyond the conventional advance, retreat, lunge, and recovery, most of which is seen today, but not all. We rarely see, for example, the stolen march (forward crossover, lunge) today, although I was in fact taught it decades ago. Still, some epeeists today occasionally use a crossover followed by a fleche, often as a suprise attack after the command “Fence!” is given. Nor do we see the reverse rassemblement (standing as in a rassemblement but by bringing the rear foot forward) to make a counter-attack, a practice once used in foil.
Amusingly, Nobbs includes an epee counter-attack that concludes with a reverse-crossover-spin-jump-retreat! I’m no fan of turning the back in any martial practice, and the described technique would not only run afoul of the modern rule against doing so, and is clearly also pre-electrical, for the fencer executing the technique would be wound up in the reel cord. Still, it would be a swashbuckling delight if executed without error although to what real purpose I cannot fathom: a a half-retreat crossover accelerating into a long jump backward would work as well or better and is far more stable–and you can keep your eyes on your adversary the entire time. It’s a conundrum that such a dubious technique–unless I’m missing something–would be included in an otherwise practical work. An inside joke? In fact, I don’t even care for exposing my back in the fleche when running past an adversary, and prefer instead to fleche straight at my opponent, a technique centuries old and well-described by Sir Wm. Hope. A quick trivium: until the 1940s, in “dry” (non-electric) epee if one fencer passed another, he or she could turn around and continue fencing facing the other way, provided a halt had not been called. Nobbs also provides the third different definition of copertino I’ve run across: fencing language is both used and abused by fencing masters.
Recalling my first fencing master, Dr. Francis Zold, who told me much the same thing, Nobbs points out that the premise of competitive epee at the time, that a hit arriving at the arm of the attacker first would count while that of the attacker would not because the attacker’s body hit would be stopped or delayed by the defender’s arm hit, is flawed. In fact, the majority of counter-attacks to the arm or the body would not halt a fully developed attack. It’s a purely sport technique when done deliberately. The book is one of those I delight in discovering. And it’s printed on high quality laid paper too! Highly recommended–but have a thorough working knowledge of at least intermediate fencing technique first.
That Is, To Hit and Not Get Hit–At Least in Theory
Rapier & “Transitional” Rapier
Libro de Jeronimo de Carranza, que trata de la filosfia de las armas y de su destreza, y de la aggression y defension Christiana by Jeronimo de Carranza, 1582. Add to this the works of his student, don Luis Pacheco y Narvaez. The book is the exposition of la verdadera destreza, or true art, and as such is necessary for understanding one of the major schools of Spanish rapier. The style is based much on complex geometric forms derived from the simple theory that discovering the shortest safest path in attack or defense is the basis of speed (in fact, it is but one component). From this proposition the school became wrapped in unnecessary esoterica including elements of mathematics and philosophy that have little if any practical bearing on practical swordplay. Yet it was this esoterica that made it surely lucrative for fencing masters whose students were, as many are today, eager for “secret knowledge.” The system was scathingly and brilliantly lampooned by famous poet, swordsman, and Spanish national treasure Francisco de Quevedo in El Buscón. Quevedo once humiliated Narvaez in a duel: with his rapier he removed Narvaez’s hat. In fairness, it can be argued that the verdadera destreza was an early effort at scientific or rational fencing theory that, albeit with different emphasis, would come to dominate the smallsword in the late 18th and early 19th centuries.
Part of my bias against attaching philosophy, metaphysics, “secret knowledge,” and other such “floral appendages” to fencing is that the allure is primarily to make fencing lucrative to some fencing teachers’ bank accounts and all too often to enrich the teachers’ egos as well as their wallets. I’ve seen a number of modern teachers practice this in Olympic, classical, and historical fencing. It is a pompous, pretentious, and, often to many students, ultimately disappointing practice. Fencing has more than enough fascinating allure, and its lessons are easily applied to life: it need not be wrapped up mysteriously and excessively in mathematics, philosophy, and, to be plain, alchemy. Or, more generally, in esoteric bullsh*t.
That said, one of the best ways to look at the destreza verdadera form may be to consider it as the truly Spanish Baroque style of swordplay, caught up in all that was good and bad in the excesses of the Spanish Baroque period. And if nothing else, at least it suggests you consider that all the arts and sciences are connected.
Escuela de Principiantes y Promptuario de Questiones en la Philosophia de la Berdadera Destreça de las Armas by Don Pedro Texedo Sicilia de Tervel, 1678. As with the Destreza Indiana below, the author’s name alone is quite evocative. Add to this the author’s image in the front papers, evoking the aloof, Roman-nosed Spanish don (not quite a myth by any means), and we have a book right out of a Hollywood swashbuckler. It has everything for the fencer enraptured by the destreza verdadera, including excellent illustrations of swashbuckling swordsmen—Spaniards, we assume, although their Spanish dress includes baldrics rather than the narrow sword-belts worn by Spaniards at the time except when in military dress, which was basically French—holding classic cup-hilt rapiers and standing on “magic” geometric circles. Discusses rapier and dagger, single rapier, and rapier and target.
The author’s image page includes references to theologia, obtica, practica, astrologia, speculativa, arismetica, matematica, musica, and philosophia, which is quite an education: only by reading the book is the question answered as to whether some or all apply to the destreza verdadera. “All,” I imagine Texedo would say. Further, I am unsure who the audience was: the book was published in Naples, under Spanish rule at the time; the clothing and baldric are a bit curious (perhaps of Spaniards in Naples? Or in Sicily? Or of Italians in Spanish dress?); and the dedication is to His Majesty the King of Spain, of course.
The book’s purpose is clear, though, according to Texedo’s motto: Omnia Contra Tela is shorthand for “unum omnia contra tela Latinorum” from Virgil’s Aeneid, book VIII. The complete phrase translates as “alone sufficient against all the weapons of the Latins” (Benjamin Apthorp Gould, 1826; Latin translation should always be left to serious scholars). Given that destreza is written beneath the motto, it’s pretty certain that Texedo held his practice of philosophical swordplay in high regard.
I imagine Don Pedro Texedo, whom I rank among my favorite Spanish swordsmen, as equal to “John de Nardes of Seville in Spain, who with the dagger alone, would encounter the single rapier and worst him.” (William Higford, 1658. “Juan de Nardes” of Seville is probably Juan Domínguez, noted by F. Moreno in Esgrima Española, 1904.)
Las Tretas de la Vulgar y Comun Esgrima, de Espadas Sola, y Con Armas Dobles by Manuel Cruzado y Peralta, 1702. My many thanks to Pradana who corrected my description of this book. When I reviewed it ten to fifteen years ago, I simply read the title and scanned the text for examples of “common” Spanish rapier, and so I assumed it was a book overall on the comun technique. Pradana pointed out that the text is in fact a criticism of the common method. Mea culpa! He later emailed me to point out that I was partly correct: the text does include descriptions of the common method, as I was certain I had read (in spite of my mediocre Spanish). Thankfully I now do a more detailed review and re-review of sources prior to formal publication. In regard to “comun” texts, Pradana recommends Domingo Luis Godinho. Although I’m aware of this author I haven’t yet reviewed the book, but will post a summary when I do.
Illustracion de la Destreza Indiana by Don Francisco Santos de la Paz and Capitan Deigo Rodriguez de Guzman: Lima, 1712. Noteworthy primarily because it was the first fencing book, to my knowledge, published in the Americas. The authors’ names alone conjure assignations and affrays fought with rapier and poniard, or capa y espada, at night, not to mention the myth of duels on deck between noble pirate captains and treacherous Spaniards, although to be accurate we should drop the “noble” from pirate captains all of the time unless fictional (for example, Captains Peter Blood and Charles de Bernis), and “treacherous” from Spaniards most of the time. Trust me on this, I write books on the subject. See also Edward Blackwell in the “Smallsword” section below.
Gran Simulacro by Ridolfo Capo Ferro, 1610, 1629. A beautiful 2004 hardcover edition, Italian Rapier Combat: Capo Ferro’s ‘Gran Simulacro,’ edited by Jared Kirby, is available, as is a 2012 softcover reprint.
L’Arte di Ben Maneggiare la Spada by Francesco Ferdinando Alfieri, 1653. Beautifully and graphically illustrated treatise of the Italian spada, both of single sword and sword and dagger. Highly recommended.
Regole Della Scherma by Francesco Antonio Marcelli, 1686. Detailed, practical study of the Italian spada, including single sword, sword and dagger, and sword versus other arms and vice versa, for example the saber or scimitar versus rapier. A very practical book with sound, practical advice useful in rapier, smallsword, and epee. Dedicated to Queen Christina of Sweden, who had abdicated her throne and now resided in Rome. Greta Garbo starred as Queen Christina in an excellent film of the same name.
Grondige Beschryvinge Van de Edele ende Ridderlijcke Scherm-ofte Wapen-konste by Joannes Georgius Bruchius, 1671. A Dutch text presaging the persistent influence of the rapier into the age of the smallsword in Northern European schools—the Dutch, the various German, and others. Notably, in spite of the date and obvious transitioning to a lighter weapon, the book still uses much Italian rapier terminology. Solid technique for the duelist, soldier, and brawler, much of it looking remarkably similar to modern epee. The author references various illustrations throughout the book, in order that the reader may put them together in different described sequences. Clever, but unfortunately cumbersome too, as one might expect.
The book illustrates one of the most practical uses of what Alfred Hutton, in saber, refers to as “high octave”—used, that is, here as a yielding parry from quarte to exclude the adversary’s blade after running him through. Immediately closing the distance and commanding the adversary’s blade was vital. An adversary is seldom dead or disabled immediately, after all, and this technique would prevent him (or, rarely, her) from making a killing thrust in revenge, assuming a perfect world of course. Not everything goes according to plan, or so Fortune is said to say and without doubt often proves. Some nineteenth century saber masters recommended its use to counter-parry a quarte riposte made in opposition, suggesting that it was the only parry that could be made quick enough, which at the distance of direct riposte may be true. Hollywood is occasionally enamored of the technique, but it’s usually cringeworthy to watch the lovefest, so stilted, weak, and inappropriate in execution—unbelievable, in other words—it usually is.
See George Silver in the “Broadswords…” section below for a passionate argument against the rapier.
Smallsword (Epee de Rencontre, Espadin)
Les Vrays Principes de l’Espée Seule by the sieur de la Touche, 1670. The establishment of the modern French school of the smallsword, whose principals went largely unchanged for more than three centuries, and remain much in place today. Fencing for the French court. Although the technique is practical as described, or at least what would soon be considered conventional, and later classical, the illustrations show a lunge absurdly long, one that could hardly be recovered from in good time or in good defense. Perhaps it was to please Louis XIV and his tastes in elegance and dance.
Le Maître d’Armes ou L’Exercice de l’Epée Seule dans sa Perfection by Andre Wernesson, Sieur de Liancour, 1692. An excellent study of the smallsword, albeit in some ways more suited to gentilshommes of the French court than to adventurers in the field. Julie d’Aubigny, aka Mademoiselle la Maupin, the opera singer and duelist, among other occupations and pastimes, may well have studied under Wernesson, maître en fait d’armes to the Petit Ecurie, given her swashbuckling father’s position at court as the secretary to the comte d’Armagnac. (She might also have studied under Jean or François Rousseau, maîtres en fait d’armes to the Grande Ecurie.)
La Maupin, among her many adventures, was convicted and subsequently sentenced in absentia to be burned to death by the Parlement d’Aix for seducing a novice and burning a corpse in the associated convent. The verdict, however, was delivered against the sieur d’Aubigny; La Maupin’s masculine disguise apparently fooling, or perhaps pretending to fool, the right people. The criminal seductress’s former protector, the comte d’Armagnac, petitioned Louis XIV to overturn the decision, which he did, doubtless given his strong inclination toward attractive talented women. Clearly, independent women were hard to come by—and apparently hard to spot when dressed as a man fleeing a convent and prosecution.
L’art des armes by le sieur Labat, 1696. English translation, The Art of Fencing by Andrew Mahon, 1734. Another excellent study of the smallsword, although Labat, like de Liancour, was not quite as practical-minded regarding the smallsword in sudden rencontres, street fights, and the battlefield as some authors, McBane for example, were. From his work, as well as Hope’s below, it is easy to see the origins of sport fencing, aka foil fencing. In fact, I suspect that most fencers of this era far preferred “school play” to the possibility of injury or death in a real rencontre.
The Compleat Fencing-Master by Sir William Hope, 1692, 1710. Largely a reprint of Hope’s earlier work, the Scots Fencing Master, or Compleat Small-Swordman, 1687. An excellent work, highly recommended. Hope was an astute amateur, and his observations on fencing concepts are valuable to both the historical and modern fencer. Additionally, he has much practical advice for fighting with “sharps.”
The Sword-Man’s Vade-Mecum by Sir William Hope, 1691, 1694, 1705. Excellent advice for surviving a fight with “sharps.” That is, practical considerations for dueling and “rancounters” (rencontres) or street fights.
The Fencing-Master’s Advice to His Scholar by Sir William Hope, 1692. Rules and advice, including technique, for “school play”—that is, for sport fencing. Ever wonder where foil conventions and rules come from? In spite of most historical texts noting that conventions originally derived for reasons of safety, it is clear that sport, convenience, and appearance also played a major role, perhaps even the greater one, starting in the late 17th century, if not much earlier.
The Art of Fencing Represented in Proper Figures Exhibiting the Several Passes, Encloses, Disarms, &c. by Marcellus Laroon, various editions suggested to date from the 1680s to circa 1700. Illustrations and single line descriptions only, very useful to the historian not only of fencing but of period dress. (I’ve relied heavily on these images for Fortune’s Whelp, for example.) Figures are in a variety of fencing positions, most with smallswords, some with buttoned foils. Worthy of much study. A number of images are suggestive of, or even imitated from, 17th century rapier and “transitional rapier” illustrations, making it at quite possible, or even probable, that the French school was not yet entirely in full force even in the English smallsword, or that the Dutch immigrant illustrator Laroon, who bore a facial scar from an affray with swords, was showing his Dutch influence. (See Bruchius in the “Rapier & Transitional” Rapier section, for example.)
The English Fencing-Master: or, the Compleat Tuterour of the Small Sword by Henry Blackwell, 1702. A short text thereby suggesting that “Compleat Tuterour” is hyperbole, with decent illustrations showing wounds with spurting blood for emphasis. Includes more proof that the modern sixte thrust aka “carte over the arm” was well in use much earlier than some fencing historians suggest. Charming spelling of seconde: “Sagoone.” But the spelling of carte, tierce, and prime are conventional. Blackwell includes a good but brief discussion of flanconnade, one of my favorite thrusts in its several varieties: it secures the adversary’s blade, is perfectly placed for additional opposition with the unarmed hand (were this still legal), and, thrust low, avoids the ribs and their cartilage which might impede the thrust (assuming the adversaries are fencing with “sharps” of course). Blackwell’s recommended en garde is with the arm mostly extended, as is the case with many smallsword texts—it’s simply a safer guard with a real thrusting sword than the common foil guard of the past two centuries. See also Edward Blackwell below!
Der Geöffnete Fecht-Boden by B. Schillern, 1706. German text showing the influence of the rapier even with the smallsword into the 18th century. Compare with Doyle’s French-influenced German text below and with Bruchius’s Dutch text in the “Rapier” section above.
Advertisement, Especially to Fencing Masters by Sir William Hope, probably 1707. An advertisement with argument for Hope’s new book detailing his new method of fencing using the hanging guard. Excellent, if brief and not entirely complete, discussion as to why swordplay on the battlefield is different from that of the duel. (He doesn’t provide reasons why cutting weapons, or cut and thrust, are preferred: cuts may not kill but often disable more quickly that thrusts, it is easier to change direction and defend while doing so with a cutting weapon, thrusts may stick in the adversary and thereby be problematic for mounted troops–many have been dismounted by a thrust stuck in an enemy.) Hope is less convincing when it comes to his argument that his method is new, and not merely a restatement of one of the Walloon or German styles.
New Method of Fencing by Sir William Hope, 1707, 1714, et al. Hope’s exposition of his conversion to the hanging guard, known by many as the “falloon” (from Walloon) guard, as opposed to the more common guards in quarte and tierce, for the smallsword, sheering sword, and backsword. The book has been reprinted in Highland Swordsmanship, edited by Mark Rector, 2001. Among his excellent advice for swordplay on the battlefield, Hope recommends a stout gauntlet on the unarmed hand for parrying.
The English Master of Defence: or, the Gentleman’s Al-a-Mode Accomplishment by Zackary Wylde, 1711. A difficult read at times, especially for those without a strong base in classical fencing, smallsword, and backsword/broadsword technique, not to mention in English syntax and phrases circa 1700, but the language is colorful, the writer charmingly self-confident, and his descriptions—once deciphered—proof that there is little new in “modern” fencing. Covers smallsword, broadsword, quarterstaff, and wrestling.
Neu Alamodische Ritterliche Fecht- und Schirm-Kunst by Alexander Doyle, 1715. An Irishman introduces Germans to the French school, with plenty of parries and oppositions with the unarmed hand, plus disarmings, grapplings, and trips/throws to satisfy advocates of the native German schools. Almost as well-illustrated as Girard below, and in some ways I almost prefer Doyle’s illustrations. An excellent reference for the practical-minded swordsman.
Expert Sword-Man’s Companion by Donald McBane, 1728. McBane was a Scottish soldier, swordsman, fencing master, duelist, prize fighter, and collateral pimp whose deeds and escapades began in the late 17th century and continued into the 18th. Highly recommended, almost certainly the best text on practical swordplay for the duel, affray, rencontre, street fight, &c, based as it is on his own extensive experience wetting his blade with the blood of adversaries, and occasionally wetting theirs with his own. Literary connection: in The Princess Bride the author refers to McBane as “McBone.” The book has been reprinted at least three times in recent years: a 2015 edition edited by Keith Farrell in Scotland, a 2017 edition edited by Jared Kirby, and a 2001 edition edited by Mark Rector in Highland Swordsmanship (readers of this last edition may choose to disregard the photographs of McBane’s technique and refer instead to McBane’s descriptions and original illustrations which are unfortunately not reproduced in this edition).
A Compleat System of Fencing: or, the Art of Defence, In the Use of the Small-Sword by Edward Blackwell, 1734, in Williamsburg, Virginia. The first fencing text published in North America and the first in English in the Americas as well, sub-titled Wherein The most necessary Parts thereof are plainly laid down; chiefly for Gentlemen, Promoters and Lovers of that SCIENCE in North America. Given the last names plus the similarity of titles and technique, Edward Blackwell is surely related to Henry Blackwell, most likely as father and son. The book includes a good introduction as to why one should fence—Americans, take note! It’s apparently long been a problem promoting swordplay in British-derived North America!—as well as solid descriptions of swordplay, including how to deal with a low guard, in “Master and Scholar” format (Sir Wm. Hope has used this format too).
As with Henry, the book has a good description of the flanconnade, and the likely son has corrected the likely father’s spelling of “Seconde.” Good discussion of time and counter-time, along with a reminder that foilists have long been inclined to impale themselves by attacking into an attack (so have many epeeists, too, but foilists tend to regard double hits as imaginary). Like his likely father, the son prefers a more extended guard, and not the scandalously “crooked Arm” so popular with foilists since the 19th century—but at least most of them extended from beginning to end during their attacks until recently—and also with aggressive “ignorants” of the smallsword era who did not extend during their attacks. Yes, attacks with a bent arm are those of the fencing illiterate, thus one might argue that both modern foil and saber fencers are quite unlettered (and some epeeists are too). See also Henry Blackwell above.
Traité des Armes by P. J. F. Girard, 1737, 1740, et al. Possibly the best book on the smallsword ever written. Not only beautifully illustrated, the book describes smallsword technique in detail, including its use on the battlefield against other weapons. It emphasizes practical swordplay for the duel as well as for the affray or rencontre, even against foreign fencing styles, and for battle. Girard was a naval officer. Highly recommended.
A Treatise Upon the Useful Science of Defence, Connecting the Small and Back-Sword, and Shewing the Affinity Between Them by Capt. John Godfrey, 1747. Practical book on smallsword and backsword, including a very useful analysis of backsword prizefighters, and some notes on boxing as well.
L’Art des Armes by Guillaume Danet, 1766. Excellent work on the smallsword, with practical exposition of the theory and practice, along with useful associated exotica, including how to break up a duel (grasp the shell of one adversary’s sword and direct your point at the other). However, the Internet being what it is—as useful to the lazy in their laziness, fools in their folly, and idiots in their idiocy, as it is to those largely unafflicted with these defects of behavior and intellect—the illustration is unfortunately reproduced on occasion to demonstrate, quite incorrectly, how to fight two adversaries simultaneously.
Among much useful commentary, Danet demonstrates his functional knowledge of fencing history and texts; decries commanding the blade (seizing the adversary’s sword) and disarmaments, but discusses them anyway because the fencer should know how to defend against them; discusses and decries volts and the passata soto (under another name); and wishes that parries with the unarmed hand had never been invented, although he distinguishes between parries with the hand and opposition of the hand, the latter of which he approves.
Danet provides the modern definition of fencing time: the time it takes to perform any single action of hand or foot. On the other hand, his renaming of parries is confusing to modern fencers, and was to his contemporaries as well. La Boëssière père, via his son (see below) was highly critical of Danet in general (not unusual in itself for fencing masters to criticize each other, often pompously), although it is easy to see from both that the “practical” swordplay of the smallsword was in danger of descending into near-complete artificiality, which in the next century it did.
In spite of its many virtues, my fondness for the book is actually based much on Rafael Sabatini’s affection for it, on which he founded much of his description of French swordplay, particularly in Scaramouche. Danet’s style of fencing is very much in keeping with the style of Sabatini’s logical intellect, and therefore of Sabatini’s swashbuckling heroes, although Sabatini, being half Italian, did not shrink from occasional cunning, nor did he object to his swordsmen partaking occasionally from the Italian school. From Danet is the inspiration for Andre-Louis Moreau’s new theory of swordplay, although in reality it would be nullified by an arrest, not to mention difficult to execute even with a cooperative adversary. But don’t let this spoil the excellent novel, which among its many virtues great and small is an evocative description of a fencing lesson that stirs me to this day. And in many ways Sabatini’s theory was correct at its core: the fencer should force his or her adversary into a pre-selected avenue of no escape.
Sabatini also used the historical person of Danet in the short story, “The Open Door” in Turbulent Tales (1946). For more details on Sabatini and Danet, not to mention, and far more importantly, on Sabatini’s works in general, I highly recommend Romantic Prince: Reading Rafael by Ruth Heredia, 2015. I am honored to have assisted Ruth on the subject of swordplay in Sabatini’s works.
The Fencer’s Guide by Andrew Lonnergan, 1771. Practical smallsword-play described with some occasionally uncommon fencing language: the practices of whirling, wrenching, and lurching, for example, which are synonyms for three conventional techniques. A more scholarly and readable update on Wylde is one way of looking at the book. Lonnergan also includes a very useful discussion of the backsword and spadroon, as well as some very practical advice for and against the cavalry, dragoons, and Hussars or light horse—whether the adversary wears breastplate and helmet determines to a great degree the swordplay used. He has brief useful advice for the fencer armed with a walking stick (it must be wielding a bit differently, having no edge or point), and sees no reason that an athletic fencer cannot use the various volts, night thrust (passata soto), grapplings, &c, which by now many masters had lost favor with. However, see Danet above.
The Army and Navy Gentleman’s Companion; or a New and Complete Treatise on the Theory and Practice of Fencing by John McArthur, 1784. Solid exposition of the smallsword, with conventional language—McArthur doesn’t use Lonnergan’s romantically descriptive flourishes when naming some techniques. Again, here is yet another book proving that there is really nothing new in modern fencing. As with many fencing books, it includes some useful and some not so useful tidbits, for example, the deflecting of a pistol with a smallsword, something I suggest should not have been tried except in extremis and was probably most successful when used with a strong cutting sword—a broadsword, backsword, saber, or cutlass—that, rather than deflect the pistol, severed some of the fingers or the hand holding it instead. Very much worth reading, as for that matter are all the smallsword texts listed here, in order to expand one’s perspective on the theory and practice of Western thrusting swords.
The School of Fencing by Domenico Angelo, 1787. Several modern reprints available. The height of the 18th century French school, though by now the smallsword was mostly an accoutrement of dress, occasional dueling arm, and for some military officers, a badge of office. Fencing for the gentleman. The book is not my favorite, even though it was also published under “Escrime” in Diderot’s famous encyclopedia. Perhaps it’s the illustrations: I cannot image any serious swordsman or swordswoman posing so delicately. For the latter part of the 18th century I much prefer Danet, Lonnergan especially, and even McArthur (whose illustrations are likewise a bit too delicate to represent the soldier and fighting seaman in my opinion).
The Amateur of Fencing by Joseph Roland, 1809. Highly recommended for all fencers. Although the technical material is quite useful to the smallsword fencer and worth reading by the modern fencer. In particular, Roland, first quoting McArthur above, recommended the study of fencing to navy men, for “they are more frequently at close quarters with the enemy than the military are.” But the book’s real value lies in his philosophy of teaching fencing and learning to fence. Specifically, he attempts to go beyond the mere mechanical practices of teaching fencing and of fencing itself, practices still far too common even today. In fact, such mechanical description is the entire content, or nearly so, of most books on fencing, then and now. Roland wished to go beyond this and develop a sense of tempo, tactics, awareness, and independence in the student.
Most valuable are several of his admonitions, for example, “[T]he pupil, who I wish at all times to make use, but not too hastily, and without partiality, of his own judgement, and not upon every occasion to take for certain evidence any proposition upon the authority alone of a master, merely because he is a master, or that the same may be found in print.” Although there are masters who have embraced this philosophy today (including mine), the majority do not appear to have done so and remain instead “mechanical.” Of these, too many reign at the center of a cult of personality, with the result that their students are anything but independent on the piste or, unfortunately, in life.
Traité de l’Art des Armes by La Boëssière fils, 1818. An explication by the son of the school of the father (a contemporary of Angelo and Danet, among others). Highly recommended, especially for the student of the smallsword or of fencing history and theory in general. A superb text, with useful observations (practiced too little today, both in the making and the study of) for teaching students, including the young, the old, and women too, along with practical tidbits, for example an early discussion of the use of the fencing mask (masque de fil-fer, that is, iron wire), instructions on how to mount and button a fleuret d’assaut, and a criticism of the quality of the “new” foil blades, something common throughout the history of fencing it seems: I’m old enough, for example, to have used the superbly-balanced, light, long-lasting non-maraging Prieur foil and epee blades forged in the 1970s (there were no maraging blades back then).
Traité de l’ Art de faire des Armes by Louis-Justin Lafaugère, 1820. Perhaps, along with the only secondarily-described method of Jean-Louis (see below), the last of the great treatises of the smallsword. After this date, and until the development of the épée de combat, we find mostly foil fencing in the form of what was once known as “school play”—sport fencing, or worse, le jeu de salon, in a form unsuitable for combat with sharps. Lafaugère, a redoubtable fencer and swordsman (there is a difference), wrote in detail of the many variations of feints and their many combinations, making the book, to some, overly complex. The only modern text comparable in similar complexity is Imre Vass’s grand epee book (see the “Modern Epee” section above) in which he details feint attacks in similar fashion.
Un Maître d’armes Sous la Restauration : Petit Essai Historique by Arsène Vigeant, 1883. Strictly speaking, a biography of one history’s most swashbuckling and talented swordsmen and fencing masters, Jean-Louis. Like Alexandre Dumas who gave us some of the greatest swashbuckling and historical novels ever written, Jean-Louis was of mixed black and white French Caribbean descent. The book is listed here because Vigeant includes a detailed description of Jean-Louis’s teaching method, along with many of his drills, quite modern and still useful today. In any case, Jean-Louis’s story alone is a magnificent read. His daughter, if I recall correctly, was a quite talented fencer, too. For those of you who don’t read French, Michel Alaux includes a detailed biography of Jean-Louis (see the “Combined Modern” section above). Jean-Louis’s salle survived into the 20th century, and Alaux was its master for some years.
Backsword, Broadsword, Saber, &c.
Paradoxes of Defence by George Silver, 1599, reprint 1968 et al. A vigorous defense of English cut-and-thrust swordplay for dueling or battle, and excoriation of the rapier and rapier play. Contains perhaps the best description ever put to paper of the virtues of fencing, as well as the best examination for qualification as a fencing master or expert. Yes, if you want to be an expert swordsman or swordswoman, you must be able to routinely defeat unskilled fencers and not be thrown by their irregular technique and tactics! If you can’t, you’re merely a common fencer best suited to engaging others of your ilk. The fencing may not be pretty when you engage the unskilled, the hack, the ferrailleur, or the extremely unconventional, but you must be able to defeat any inferior fencer, not just those with conventional technique and tactics. Further, you must be able to hold your own against your equals, no matter their style, and force superior fencers to work hard for their victories—and occasionally, defeat them by doing so.
A Treatise on Backsword, Sword, Buckler, Sword and Dagger, Sword and Great Gauntlet, Falchon, [&] Quarterstaff by Capt. James Miller, 1738. Plates with a column of descriptive notes on the front page. Half a dozen or more of the fifteen plates apply to the basket-hilt backsword, and two to the falchion, and therefore to the cutlass. Excellent illustrations of positions poorly illustrated or described in other cutting sword texts of the period. Sir Wm. Hope was a fan of the “great gauntlet,” particularly on the battlefield. Miller was a soldier, later a stage gladiator.
The Use of the Broad Sword by Thomas Page. Norwich, England: M. Chase, 1746. 18th century broadsword technique, including that of the Scottish Highlanders, applicable also to the backsword and cutlass.
Highland Broadsword, edited by Paul Wagner and Mark Rector, 2004 (1790 – 1805). Five late 18th and early 19th century broadsword manuals (Anti-Pugilism by “a Highland Officer,” 1790; MacGregor’s Lecture on the Art of Defence, 1791; On the Use of the Broadsword by Henry Angelo, 1817; The Art of Defence on Foot with the Broad Sword and Saber, by R. K. Porter, 1804; and Fencing Familiarized, by Thomas Mathewson, 1805). Practical cut-and-thrust swordplay.
The Broad Swordsman’s Pocket Companion, “Designed by Capt. Wroughton,” ca. 1830. One of the last real English broadsword manuals of the era of Empire—actually, a book of plates only—before cut and thrust began to be absorbed by the rise in popularity of saber, not that there was actually much difference. Short, well-illustrated with colored prints of military fencers wearing fencing masks and armed with singlesticks. The book is exactly what it says.
The Art of the Dueling Sabre by Settimo del Frate explaining Guiseppe Radaelli’s saber method, translated and explained by Christopher Holzman, 2011. Del Frate’s original works were published in 1868 and 1872. Indispensable, along with the Wright/Masiello/Ciullini work below, for understanding Radaelli’s method of saber. It changed Italian saber fencing forever, and is the root of the Hungarian school.
Lessons in Sabre, Singlestick, Sabre & Bayonet, and Sword Feats; or, How to Use a Cut-And-Thrust Sword by J. M. Waite, 1880. Superb text on practical swordplay, highly recommended.
The Broadsword: as Taught by the Celebrated Italian Masters, Signors Masiello and Ciullini, of Florence, by Francis Vere Wright, Ferdinando Masiello, and [first name unknown] Ciullini, 1889. An English text on the Italian school of the light or dueling saber established by Guiseppe Radaelli in the 1870s. Maestro Masiello was a student of Radaelli; Ciullini probably was as well. Soon this Radaellian school would be transformed by Italo Santelli (a student of Carlo Pessina, who was a student of both Radaelli and Masaniello Parise) and László Borsody into the Hungarian saber school that would lead to Hungary’s half century reign in international sport saber competition. For those interested in the debunking of fencing myths, the book clearly states why the modern saber target is restricted to the area above the waist (and no, it has nothing to do with sabers once having been used on horseback): it was considered “unchivalrous” to hit below the belt. That is, the Italians wanted to keep their manhood undivided.
Cold Steel by Alfred Hutton, 1889, modern reprints available. Practical swordplay for the light saber (sorry, Star Wars fans, it’s not what you think) or even backsword, and also the “great sword” and stick. Highly recommended.
Broadsword and Singlestick by R. C. Allanson-Winn, 1890, reprints 2006, 2009. Excellent work on practical cut-and-thrust swordplay, most highly recommended. Quite English in its pragmatism.
See also Wylde, McBane, Godfrey, and Lonnergan in the Smallsword section above.
In spite of the popular—and correct—association of the cutlass with piracy, privateering, and naval boarding actions of the 17th through early 19th centuries, there are for all practical purposes no cutlass texts prior to the late 18th. Even Roland (see the Smallsword section above), who recommended fencing in particular for naval officers and crews because they had the most need of it given the prevalence of boarding actions, and Girard and McArthur who were naval officers, do not really describe it—Girard not at all, McArthur only briefly by identifying its guards and cuts as those of broadsword, and Roland largely by quoting McArthur.
Cutlass play, at least as described in cutlass manuals, of the later era was based almost entirely on the broadsword and saber technique of the time. However, given the cutlass’s useful abilities at close distances (those of riposte and of grappling), there were doubtless techniques used in earlier periods but not noted later, for example grazing parry-ripostes made in a near-single tempo, short powerful cleaving cuts, plus a variety of techniques suitable when grappling, not the least of which would have been pummeling. F. C. Grove in the introduction to Fencing (London: Longmans, Green, and Co., 1893) wrote: “One of us once saw a sailor of extraordinary strength seize a cutlass close to the hilt, where the edge is blunt, and break it short off.” Quite unconventional even by 17th century standards, yet for the seaman armed with a cutlass in action, not at all surprising. Marcelli (see the “Rapier” section above) notes something I’ve not seen elsewhere but becomes quite obvious when practicing cuts with a cutlass: the weapon is capable of fatal strokes at grappling distance.
Besides the study of backsword, broadsword, and saber texts, I recommend those of the dusack as well. Practice with a knowledgeable partner is also required, as is cutting practice in order to get a good feel for the weapon. The very few texts below are merely representative of saber technique of the later period: it is by no means a complete list. I have described late 17th century cutlass technique, or at least what we know of it, in The Sea Rover’s Practice, The Buccaneer’s Realm, and The Golden Age of Piracy, especially in the last book. Additionally, those interested may want to review my blog post, Buccaneer Cutlasses: What We Know, as it includes some information on technique. Marcelli and Girard have some discussion of opposing a saber against a rapier or smallsword, and Marcelli also vice versa, much of which is applicable to the cutlass. Likewise Captain Miller in the “Backsword” section has two plates showing falchion or hanger guards (inside and outside) applicable to the cutlass.
Naval Cutlass Exercise by Henry Angelo, 1813. A detailed illustration of footwork, cuts, and “words of command.” Based entirely on the broadsword, it might as well be broadsword, so why bother—except that Angelo was paid for it by the Royal Navy. In his defense, McArthur (see the “Smallsword” section above) agrees that cutlass and hanger guards and cuts are the same as those of the broadsword. Nonetheless, there are techniques one can use with a cutlass at the distance of “handy-grips” that cannot be used with a broadsword or other longer cutting sword.
Naval Cutlass Exercise “For the Use of Her Majesty’s Ships,” 1859. Includes a good general illustration of cuts and guards, as well as well-regulated military-style (naturally) drills for cuts, guards (equivalent to parries), and points (thrusts, that is). The brief “Concluding Observations” include a vital one for combat: “…but he must ever be “on guard” to meet the impromtu [sic] hit of such as cannot help returning [riposting], whether hit or not.”
The Ship and Gun Drills of the U. S. Navy, by the Naval Department, Division of Militia Affairs, 1914. Seaman’s manual with brief instruction on the USN “Sword Exercise.” The attacks and parries are simple and functional, and the illustrations useful.
British Naval Swords and Swordsmanship by John McGrath & Mark Burton, 2013. Includes a couple of good chapters on British naval swordsmanship, but as can be expected given the source material, the discussion is by and large of the late 18th century and afterward. Includes a description of British naval fencers as well. Required background reading for the student of cutlass swordplay and required technical reading for the collector of British naval swords.
La Bibliographie de l’Escrime Ancienne et Moderne by Arsène Vigeant, 1882. Not as complete as the bibliography below, but highly useful nonetheless. M. Vigeant had a thorough understanding of both swordplay itself and its history.
A Complete Bibliography of Fencing & Duelling by Carl A. Thimm, 1896. A very useful, largely complete bibliography through the late 19th century. Reprints from 1968 and 1999 are available, though often pricey. Look instead for the free pdf on Google books unless you find that fortune generally favors you or you have plenty of money to spend, the latter, of course, being one way or another proof that fortune has favored you at least once.
The History of Fencing & Swordplay
Schools and Masters of Fence by Egerton Castle, 1885, reprints 1968, 2003. European fencing to the late 19th century. Highly recommended.
Old Sword Play by Alfred Hutton, 1892, reprint 2001. A brief description of European fencing technique over the ages by a noted English fencing master.
The Sword and the Centuries by Alfred Hutton, 1901, reprint 1995. A history of European fencing and swords.
IIIe Congrès International d’Escrime, Brussels, 1905. For those interested in the arguments and squabbles that created modern sport fencing rules—and how sport interests came to dominate in epee competition, rather than having epee competition emulate dueling or the jeu de terrain as closely as possible.
The English Master of Arms: From the Twelfth to the Twentieth Century by J. D. Aylward, 1956. Excellent work covering not only English fencing masters, but necessarily the development of fencing in the British Isles as well. One of my favorites. Aylward’s book on the smallsword in England is also highly recommended for anyone with an interest in smallswords or late seventeenth and eighteenth century fencing or dueling.
Swordsmen of the Screen: From Douglas Fairbanks to Michael York by Jeffrey Richards, 1977. The history of swordsmen and swordswomen in film to 1977. Swashbuckling actors and the fencing masters who doubled for them. Worth the read if you’re into film swashbucklers.
Martini A-Z of Fencing by E.D. Morton, 1988. Not a book on fencing history per se, but a compendium that includes much fencing history, as well as fencing terms, concepts, and trivia. One of Mr. Morton’s entries is Rafael Sabatini. I disagree with most of Mr. Morton’s criticisms of Sabatini, including his claim that much of what he wrote about ships &c is in error. Sabatini did make errors, but they’re not nearly so egregious as Mr. Morton claims, with the exception of presenting a ship’s stern to cannon-fire in order to minimize damage (in fact, this would, as Mr. Morton notes, be more dangerous). Vanity aside, I hesitate to note that I am in fact an expert in this area, and can easily point out where Mr. Morton is incorrect. Notwithstanding that the majority of Mr. Morton’s entries are valid, readers must take the Sabatini entry with a grain of salt.
En garde: Du duel à l’escrime by Pierre Lacaze, 1991. Well-illustrated popular history of mostly French fencing and swordplay.
The History of Fencing by William M. Gaugler, 1998. A detailed history and analysis of the Italian schools into the first half of the 20th century, with a fair, if quite limited, discussion of French schools. The modern schools, including the revolutionary Hungarian (or Hungarian-Italian) saber school, are unfortunately not described.
Escrime by Gerard Six, photography by Vincent Lyky, 1998. “Coffee table” fencing book covering everything from history to technique, albeit briefly, and mostly French. Well-photographed.
The Secret History of the Sword by Christoph Amberger, 1999. By a veteran of the Mensur, also known as fighting for scars—which is by most definitions the purpose of macho male one-ups-man-ship. Most of us, just like Tom Sawyer, are proud of our scars. Highly recommended—the book that is, but we can include scars as well, as proof of a life well-lived and of a fortunate one also, in that we’re still alive to show off our scars.
Croiser le Fer: Violence et Culture de L’épée dans la France Modern (XVIe-XVIIIe Siècle) by Pascal Brioist, Hervé Drévillon, and Pierre Serna, 2002. Excellent scholarly study of swordplay and dueling in France from the 16th to 18th centuries. Highly recommended.
By the Sword by Richard Cohen, 2002. A history of fencing, including the modern schools, by a British Olympic fencer. Highly recommended.
Reclaiming the Blade by Galatia Films, DVD, 2009. A mostly well-intentioned attempt to “reclaim” authentic Western swordplay and historical fencing, but unfortunately marred by the heavy-handed, ideological manner in which it attacks sport fencing and some other forms of swordplay, not to mention by its egregious overuse of Hollywood references and interviews—Hollywood depictions of swordplay are usually divorced entirely from reality, thereby undercutting the argument. At its best, the documentary extols Western swordplay. At its worst, it further divides rather than unites the several major fencing communities.
To pick a bone with—or perhaps cross swords with?—the film’s makers, although many modern competitive fencers often do not practice the ideal of “hitting and not getting hit,” there are plenty, epeeists especially, or at least veteran epeeists, who do understand the concept well, can execute it exceptionally well when necessary, and are happy to argue the point, weapon in hand, with any fencer of any sort. In fact, some of us trained entirely under masters who fenced when dueling was still practiced and the saber was still a military arm—and who understood that it was entirely acceptable to practice both forms of swordplay, that is, sport or recreational, and practical training for combat with real weapons. To promote the so-called reality of historical and classical fencing is double-edged and often cuts hypocritically: excessive “contre-temps” or double-touches have been the bane of fencing for centuries, and modern “historical” and “classical” fencers are no more immune to them than were the fencers of the past whom they seek to emulate.
Tengu Geijutsuron (The Demon’s Sermon on the Martial Arts) by Issai Chozanshi [Niwa Jurozaemon Tadaaki], translated by William Scott Wilson, 2006. Includes the famous story illustrating the psychology of swordplay, Neko no Myojutsu (The Mysterious Technique of the Cat). Originally written in the early 18th century.
Heihō Kaden Sho (The Sword and the Mind) by Kamiizumi Hidetsuna, Yagyū Muneyoshi, and Yagyū Munenori, translated by Hiroaki Sato, 1985. Originally compiled in the 17th century.
Go Rin No Sho (A Book of Five Rings) by Miyamoto Musashi, translated by Victor Harris, 1974. Completed in 1645, shortly before the author’s death. Numerous editions available, including an excellent translation by William Scott Wilson. A classic on swordplay, strategy, and tactics.
The Unfettered Mind by Takuan Sōhō, translated by William Scott Wilson, 1986. Three essays on swordsmanship (Fudōchishinmyōroku, Reirōshū, and Taiaki) by a Zen master and contemporary of Musashi. Written in the early 17th century.
Suggestions on Acquiring the Books Above
Several of the listed titles (Borysiuk, Czajkowski, Harmenberg, Holzman, Kogler, Lukovich, Szabo, and Vass) are available directly from the publisher, Swordplay Books Online (http://www.swordplaybooks.com/), and delivery may be quicker than in going through a third party vendor who orders the title from the publisher. Other titles may be ordered from various online retailers, and occasionally may be found in bookstores. Most of the titles listed are out of print. Some of the older titles are in the public domain and are available as .pdf files on Google Books, archive.org (an excellent site but for its practice of making some books still under copyright available), and other electronic book sites. College students may be able to access some titles digitally or in traditional print via their university libraries.
Some of the seventeenth and eighteenth century titles in English are published as fairly inexpensive reprints by Gale ECCO and EEBO (Early English Books Online), along with similar cheap—in the sense of cheaply reproduced from mediocre quality digital scans or old microfiches—facsimile reprint publishers, and are available via Amazon and other online bookstores. However, please note that most of these versions DO NOT INCLUDE FOLDOUT PLATES thanks to Google and other publishers’ “get them copied as fast as possible” practice, so if you’re looking for the illustrations you’ll usually have to look elsewhere. Some of these and other old fencing texts may be found in various national digital libraries, often of much better quality, and with complete foldout plates.
A reader of this post, Pradana (see Cruzado y Peralta in the rapier section above), recommends Freelance Academy Press https://www.freelanceacademypress.com/, Fallen Rook Publishing http://www.fallenrookpublishing.co.uk/publications/, and AGEA Editora http://ageaeditora.com/en/ as sources for modern reprints.
Bookfinder.com compares prices of books in and out of print among online retailers, including independent booksellers. Fetchbook.info compares prices among online retailers and some of the major independent bookstores, but appears to be down at the moment, permanently perhaps. Abebooks.com and Alibris.com permit title searches through the stock of thousands of independent booksellers. Search these sites to get an idea of price range before searching on eBay: although some books on eBay are good, even great, deals, some are grossly overpriced or over-bid.
My general preference is for Abebooks.com if you don’t have a local independent brick-and-mortar store carrying fencing books (unlikely). Those of you who never had to rely twenty-five or more years ago on book vendors for online searches won’t quite appreciate how useful and cost-effective Abebooks &c. are: “back in the day,” booksellers doing searches for customers would typically mark up the price of a book found at another vendor by one hundred percent—plus shipping. Naturally, they didn’t inform you of this practice.
Some fencing books can be found on Amazon.com, but ALWAYS price compare first, especially with used or antiquarian editions. Many Amazon book vendors have a bad–frankly, unethical–practice of listing out of print volumes at ridiculously high prices. About nine out of ten I’d say. I’ve seen a used copy of one of my books listed for about $300 by an Amazon vendor, when it could be found on other sites for as little as $25 in the same condition. Similarly with fencing books. Two more reasons to avoid Amazon: the company often packs books, softcovers especially, with other items, leading to damaged books. A call to Amazon customer service about this resulted only hilarious escalation from representative to supervisor to “specialist” with no solution other than a promise to “forward my concerns to the appropriate team.” Their scripts don’t cover the issue other than to offer a refund after the book is returned. I didn’t want a replacement: I wanted Amazon to stop damaging books. Last, Amazon’s cutthroat pricing on books, which the company loses money on apparently, is designed to corner the book sales market at the expense of local bookshops and major chains. I’d rather support bookstores than a rapacious enterprise.
Many fencing suppliers carry fencing books in stock, although the number of titles may be limited. Some libraries carry fencing books, but the selection these days is usually slim. Compare to my high school library which had three or four books on fencing, and we didn’t have, and never had, a fencing team.
Most of the sport fencing books listed above are dated in regard to modern competitive rules, practices, and uniform and equipment requirements. Always refer to the current USA Fencing rule book and USA Fencing operations manual, or other appropriate national fencing regulations for HEMA, historical, classical, and other organizations, for competition rules and regulations. USA Fencing rules, such as they now are, are available for download at USA Fencing’s website.
Copyright 2008-2021 Benerson Little. Last updated August 17, 2021.
As is the case with much pirate history, a great deal of it is wrong, often either anachronistic or culturally mis-associated, or not specifically associated with piracy per se, but with the maritime in general. And so it is with keelhauling, a Dutch practice at first, to which the French and a few other nations later added their small marks.
But keelhauling had little to do with piracy, but this hasn’t stopped it from being including in discussions about pirates and piracy, nor included in pirate fiction and film, most notably and recently in the fourth season of Black Sails. (Full disclosure: I was the historical consultant to Black Sails for all four seasons.)
The original Dutch practice, as described in “A Relation of Two Several Voyages Made into the East-Indies” by Christopher Frick and Christopher Schewitzer, 1700:
“He that strikes an Officer, or Master of the Ship, is without hopes of pardon to be thrown into the Sea fasten’d by a Rope, with which he is thrown in on one side of the Ship, and drawn up again on the other, and so three times together he is drawn round the Keel of the Ship, in the doing of which, if they should chance not to allow Rope enough to let him sink below the Keel, the Malefactor might have his brains knockt out. This Punishment is called Keel-halen, which may be call’d in English “Keel-drawing.” But the Provost hath this Priviledge more than the other, that if any one strikes him on Shoar, he forfeits his hand, if on Board, then he is certainly Keel-draw’d.”
There are several notations of keelhauling and other punishments in the journal of Dutch Admiral Maarten Harpertszoon Tromp in 1639. Typically the keelhauled seaman was drawn three times beneath the ship, apparently not too tightly for he was usually whipped on his “wet bum” with a rope’s end afterwards. For lesser offenses, ducking from the yardarm was employed. In some cases, a seaman convicted of serious offenses might be ducked, keelhauled, whipped, lose his wages, and be discharged. In the case of infirmity due to age or illness, the physical punishments might be stayed, and the seaman discharged instead.
A mid-1850s century French version, described by a former midshipman in the British navy and published in Onward magazine, November 1869, was conducted slightly differently:
The writer continues with a description of what he witnessed:
N. B. Spanish Keelhauling
I’ve also seen one reference to the Spanish using keelhauling: Gemelli-Careri, describing his voyage aboard the Manila galleon in 1697, notes that he heard tell of a passenger, during the senas ceremony, being made to “facendogli passere sopra il Vascello,” from which event he died. The period English translation gives this as keelhauling, although sopra means over, not under. So, while it might be keelhauling, it might also be ducking, which is more likely given the ceremony of senas, or signs of land. Ducking might be inconvenient, even frightening to some, but wasn’t usually fatal. Keelhauling often was.
N. B. Keelhauling’s Ancient Origin?
A number of web articles and books, both popular and scholarly, note that keelhauling is of ancient origin. However, this is probably not the case. Scholar Henry A. Ormerod in Piracy in the Ancient World (1924) claims that an image on an ancient Greek vase shows keelhauling, and he has reproduced the image as the frontispiece to his book. However, I see nothing in the image to suggest keelhauling per se. Instead, it appears to depict some form of water torture of prisoners who had their hands tied and were thrown overboard, perhaps pulling them back to the surface as they begin to drown. However, the image does not appear to show keelhauling as we define it—the dragging of a victim beneath the vessel from one side to another. In fact, the victims have only one line attached: keelhauling generally requires two.
Similarly, some scholars and other writers note that the Lex Rhodia of 800 BCE describes keelhauling as a punishment for piracy, but there are actually only a few short paragraphs of the Lex Rhodia that still survive and they don’t discuss punishment for piracy, so I’m not sure where this idea originated. It may be a misreading of Ormerod, who suggests that it may have described punishments for piracy. The only line that refers to piracy is in regard to responsibility for paying the ransom of a ship to pirates. This is a common problem in history: the repetition of misinformation or incomplete information as fact.
My thanks to writer Sylvia Tyburski, whose questions to me on the subject caused me to review the facts on the purportedly ancient origin of keelhauling! I’ll post a link to her article as soon as it’s available.
Copyright Benerson Little 2017. Last updated July 10, 2018.