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Category Archives: Fencing
Useful advice and commentary, by category, for swordsmen and swordswomen. I’ve collected these over almost fifty years from a variety of sources, ranging from books published over several centuries to fencing masters and even to my own observations.
Some of these quotations are repeated in my post, Fencing Salles & Fencing Commandments, along with other advice and commentary. Please note that the list below is not complete, and never can be. I will, however, update it as convenient.
Except where noted, the English translations from the original French are mine.
On the Virtues of Fencing
And moreover, the exercifing of weapons putteth away aches, griefes, and difeafes, it increafeth ftrength, and fharpneth the wits, giuith a perfect iudgement, it expelleth melancholy, cholericke and euill conceits, it keepeth a man in breath, perfect health, and long life. It is vnto him that hath the perfection thereof, a moft friendly and comfortable companion when he is alone, hauing but only his weapon about him, it putteth him out of all feare, & in the warres and places of moft danger it maketh him bold, hardie, and valiant.
—George Silver, Paradoxes of Defence, 1599
If you master the principles of sword-fencing, when you freely beat one man, you beat any man in the world. The spirit of defeating a man is the same as for ten million men.
—Musashi Miyamoto, Go Rin No Sho (A Book of Five Rings), 1645. Musashi, Japan’s kensei or “sword saint,” fought and won more than sixty duels before retiring as a hermit to write his famous masterpiece on swordplay and strategy. Of course, what readers often miss is the implication: that you don’t have to have a brilliant understanding of the “Way” in order to fence well—Musashi himself admits that he didn’t understand the true Way until after he had fought all of his duels—but certainly it would help.
So doeth the Art of Fencing teach us to defend our Bodies, from the Assaults and Attaques of all Adversaries, whether Artists or not, who in respect of the cruel designe they have against our Bodies, may in some sense be accounted Devils, it also teacheth us not to be deceived by the fallacious Quirks and Tricks of Artists when we are engaged with the which do represent the cunning subtile Allurements of the World.
[Y]et all Gentlemen should practice it, & have an esteem for it, if it were for no other reason but this, that it is a most pleasant divertissement, and an Innocent, Healthful, and Manly Recreation and Exercise for the Body, and although a Man could reap no Advantage by it for the Defence of his Body; yet that its very keeping a Mans joynts and members nimble and cleaver [clever], and in a ready trime [trim], as it were, for any other Divertisement or Exercise, as Tenice, Dancing, Riding, &e. should make it Esteemed and Practised by all who are above the rank of Clowns.
—Sir William Hope, The Sword-Man’s Vade-Mecum, 1694
Nothing can give a greater Lusture and Enoblement to the most Excellent and Bravest Persons, than an absolute and perfect Qualification in the true Knowledge and Skill in Weapons.
—Zachary Wylde, The English Master of Defence, 1711
Indeed I am perfectly of opinion, which is corroborated by numberless persons who have experienced the utility of fencing, that for the navy it should be considered as one of the most essential branches of a nautical education, and ought to be encouraged by Captains and Commanders as much as possible. The ship’s company should, every one of them, be compelled to understand the use of the sword familiarly, previously to their going abroad, and should continue practising it at all times on board; for they have, if possible, even more occasion for fencing than the army, because, in general, they are more frequently at close quarters with the enemy than the military are.
—Joseph Roland, The Amateur of Fencing, 1809
Glancing fearfully about, I took up the weapon, finding it play very light in my grasp for all its size; and having wielded it, I held it that the moonbeams made a glitter on the long, broad blade. Now as I stood, watching this deadly sparkle, I trembled no longer, my side fears were forgotten, a new strength nerved me and I raised my head, teeth clenched in sudden purpose so desperate bold indeed as filled me with marvelous astonishment at myself; and all this (as I do think) by mere feel of this glittering sword.
There remains then always your sword, friend Adam; with this you may win the fame, the fortune—or the grave so honourable. Ha, it is true, when all other fails, there remains always—the sword!
—Jeffery Farnol, Over the Hills, 1930
Defining Fencing & Swordplay
Fencing is neither art nor science. Fencing is fencing!
—Dr. Francis Zold, personal communication, 1977
Eugenio Pini, quoted in László Szabó, Fencing and the Master, 1977
The use of arms doth much differ in these times. I hear now the single rapier is altogether in use: when I was young, the rapier and dagger. And I cannot understand, seeing God hath given a man two hands, why he should not use them both for his defence.
—William Higford, Institutions: Or, Advice to His Grandson, 1658
That if a good and dexterous Sword-man have no other design but Defence of his own Person, and not the Destruction of his Adversary’s also, that then his Sword alone, assisted by a judicious Breaking of Measure [retreating], is…sufficient to defend him: But again, if he design to Offend [attack] as well as Defend, then there is an absolute Necessity to make use of his left Hand for his Assistance; otherwise his Adversary, continually redoubling his Thrusts irregularly and with Vigour upon him, he shall never almost have the Opportunity of Thrusting, his Sword being in a manner wholly take up with the Parade, by endeavoring to make good his own Defence…
There is a vast difference, betwixt assaulting in a School with Blunts, for a Man’s Diversion, and engaging in the Fields with Sharps, for a Man’s Life; and whatever latitude a Man may take in the one, to show his Address and Dexterity, yet he ought to go a little more warily, and securely to Work, when he is concerned in the other: For in assaulting with Fleurets [foils], a Man may venture upon many difficult and nice Lessons, wherein if he fail, he runs no great Risque, and if they take not at one time, they many succeed at another: But with Sharps, the more plain and simple his Lessons of Pursuit [attack] are, so much the more secure is his Person; whereas, by venturing upon variety of difficult Lessons, he very much exposes himself, even to the hazarding of his Life, by his Adversary’s taking of Time, and endeavouring to Contretemps [an attack into an attack or a simultaneous attack, often resulting in a double touch], which are not so easily effectuat [sic, “effectuated,” i.e., “executed”] against a plain and secure Pursuit [attack].
[T]hat it clearly appears, that what goes under the Name of Graceful Fencing, is for no other use, but only for such, as, for Divertisement, counterfit a Fight with Blunts, who only Assault in the Schools with Foils.
—Sir William Hope, A New, Short, and Easy Method, 1714
And, though none might suspect it from his clumsy bearing, he is a noted swordsman.
—John Dickson Carr, Most Secret, 1964. Many excellent fencers appear clumsy or ungraceful, or lack classical form.
Briefly, our method could be expressed in this sentence: “The best parry is the blow.”
—Luigi Barbasetti, The Art of the Sabre and the Épée, 1936.
The most efficacious means of fighting are offensive actions—above all attacks. In all weapons the majority of fencers score the largest amount of hits by attacks…
—Zbigniew Czajkowski, Understanding Fencing, 2005
However, according to many of the French and derivative schools, old and new….
…but also procures to himself the advantage of playing from the Risposte, which of all Methods of Fencing is the most commendable, and safest, but then, as I have said, it is only to such as are Masters of the Parade; which is a quality rare enough to be found, even amongst the greatest Sword-men.
—Sir William Hope, A New, Short, and Easy Method of Fencing, 1714. In other words, the method of relying foremost on the riposte is ideal—but only if you have the rare ability of mastering it. My own preference is for a patiently aggressive balance of offense and defense. See especially the quotes on patience below.
L’escrime est une science expérimentale, soumise à des lois immuables comme las physique et la chemie. Chaque movement y a son importance, sa signification, et on peut en verifier les consequences, les avantages et les inconvénients. L’escrime est une art; certaines natures, particulièrement douées, y sont parfois prepares, predestines; mais il faut s’appliquer assidûment pour atteindre à la perfection.
Fencing is an experimental science, which operates under immutable laws just as do physics and chemistry. Each movement has its importance, its significance, and one can verify the consequences, advantages, and disadvantages. Fencing is an art; certain natures, particularly gifted, are sometimes prepared, predestined, but it is necessary to apply oneself diligently to achieve perfection.
—Dr. Achille Edom, L’Escrime, le Duel & l’Épée, 1908
L’art des armes ne consiste pas, contrairement à ce qu’a dit Molière, “à donner et à ne pas recevoir”; mais à ne pas recevoir d’abord et à donner ensuite, si l’on peut.
The art of arms consists not, contrary to what Molière said, ‘to give and not to receive,’ but at the outset to not receive and to give subsequently, if one can.
Il ne doit y avoir qu’une école d’escrime, celle qui prepare le tireur aussi bien pour l’assaut public que pour le terrain. En un mot, j’estime que l’escrime doit rester un art, mais il ne faut pas qu’elle demeure sans utilité pratique.
There must not be but one school of fencing, that which prepares the swordsman as well for the public assault [sport] as for the terrain [duel]. In a word, I deem that fencing must remain as an art, but it must not remain without practical use.
— Anthime Spinnewyn, L’Escrime à l’épée, 1898
[I]l y a deux escrimes, l’escrime du fleuret et l’escrime de l’épée, l’escrime de la salle et l’escrime du terrain.
[T]here are two forms of fencing, foil fencing and epee fencing, the swordplay of the club [sport fencing] and the swordplay of the [dueling] ground.
N’est-ce pas là une indication de plus qu’il y a deux escrimes, l’escrime du fleuret, sport admirable, mais exercice de convention, et l’escrime à l’épée, méthode de combat?
Isn’t this more of an indication that there are two forms of fencing [with thrusting weapons], foil fencing, an admirable sport, but an exercise of convention, and epee fencing, a method of combat?
—Arthur Ranc in the preface to Le Jeu de l’épée by Jules Jacob, 1887
Gallant bearing, disdainful valour, all that is very well in its way, ‘but the thing, Sir, is to hit your man without being hit yourself.’ That is the wisdom of ages.
—Egerton Castle, “Swordsmanship Considered Historically and as a Sport,” 1903.
But delightful as good foil-play is, both to performers and lookers-on, it is neither the real sword-fight nor even a reasonably complete preparation for it.
—Charles Newton-Robinson in “The Revival of the Small-Sword,” 1905, in The Living Age.
“Henry Durie,” said the Master, “Two words before I begin. You are a fencer, you can hold a foil; you little know what a change it makes to hold a sword!”
—Robert Louis Stevenson, The Master of Ballantrae, 1889
De Meuse. — L’assaut à l’épée de combat doit être l’image la plus complete possible du duel. Or, dans un duel, on ne donne jamais qu’un seul coup d’épée.
Berger. — Quelquefois deux et trois. Après une petite blessure on ne s’arrête pas.
De Meuse. —The dueling sword bout ought to be the closest image possible of the duel. However, in a duel, there is never only a single epee thrust [wound].
Berger. — Sometimes two and three. After a small wound one does not stop.
—From the Troisième Congrès Internationale d’Escrime, 1908. The Congress was called to determine rules for fencing as sport. Unfortunately, the argument of M. De Meuse failed due to the opposition of foilists who dominated the Congress. They believed epee—the “modern school”—was largely degenerate as a separate weapon and that no special preparation was necessary. These gentlemen had already long since accepted the argument for sport fencing, based on foil fencing as an exercise in technique (much of it useless in actual combat), as something beyond combat and unnecessary to emulate it. In fact, foil had long been proved inadequate for actual combat. See the next quotation.
Renard. — Nous avons tort de nous mettre dans l’idée que l’assaut est l’image du combat. Je fais de l’escrime comme sport et non pour me batter (marques generals d’approbation) et, autant que possible, pour faire quelque chose de bien. Il ne s’agit pas seulement de toucher.
Renard. — We are wrong to put forth the idea that the assault is the image of combat. I fence for sport and not to get battered (general marks of approval [from others]) and, whenever possible, to do something to benefit myself. Fencing is not only about getting the touch.
—From the Troisième Congrès Internationale d’Escrime, 1908. M. Renard is correct that no bout or assault can be the image of actual combat; no training or practice can. However, from this point forward the idea of all fencing as entirely a sport pastime began to take root and was the death knell of sport fencing as the emulation of actual combat as opposed to sport fencing as pure sport. It’s only grown worse a century later, with foil and saber now entirely artificial. Epee too has it’s artificialities–all forms of swordplay do–but it remains far closer to actual combat than foil or saber.
The answer is easy. The great art of swordsmanship consists in laying successful snares, such as making your opponent expect the attack exactly where it is not intended. To deceive his expectations, to break up what he combines, to disappoint his plans, and to narrow his action; to dominate his movements, to paralyse his thoughts, represent the art, the science, the skill, and the power of your perfect swordsman…
—Sir Richard Burton, The Sentiment of the Sword, 1911. Burton was a swordsman, explorer, linguist, scholar, spy, and translator of The Arabian Nights. He was the first non-Muslim to make the Hajj to Mecca, doing so in disguise. As a swordsman he was known as a fierce fighter, with numerous combats in the field.
C’est une mine si féconde que cette lutte d’adresse, d’habileté, de science, de coup d’œil, d’énergie, de jugement, où toutes les facultés intellectuelles et physiques s’emploient à la fois et se viennent mutuellement en aide.
And after all the art of fence does furnish a most interesting fund of conversation—the art of skillful fighting at close quarters, which implies a knowledge of theory combined with a trained power of execution, which taxes eye and hand, vigour and judgment, and brings into play every faculty of mind and body, each doing its part, and each in turn supplementing and reinforcing the other.
—Baron César de Bazancourt, Les Secrets de l’Épée, 1862. The translation is from the English edition, Secrets of the Sword, 1900, translated by C. F. Clay.
[Early epeeists] were realists who preferred the romantic to the classic.
—R. A. Lidstone in Fencing: A Practical Treatise on Foil, Épée, Sabre, 1952
Not so, Anthony, my faith—no! Your murdering tool is cowardly pistol or blundering musketoon whereby Brutish Ignorance may slaughter Learned Valour and from safe distance. But, as Mind is greater than mere Body so is the rapier greater than any other weapon, and its manage an exact science calling not only for the strict accordance of hand, eye and foot, but for an alertness o’ the mind also.
—Jeffery Farnol, Adam Penfeather, Buccaneer, 1940. Farnol was a fencer and his descriptions of swordplay are accurate.
MAÎTRE D’ARMES: …tous le secret des armes ne consiste qu’en deux choses: à donner et à ne point recevoir; et, comme je vous fis voir l’autre jour par raison demonstrative, il est impossible que vous receviez, si vous savez détourner l’épée de votre ennemi de la ligne de votre corps; ce qui ne dépend seulement que d’un petit mouvement de poignet, ou en dedans or dehors.
JOURDAIN: De cette façon donc, un homme, sans avoir du coeur, est sûr de tuer son homme et de n’être point tué?
MAÎTRE D’ARMES: Sans doute.
MASTER OF ARMS: …the entire secret of arms consists but in two things: to give and not to receive; and, as I demonstrated to you the other day, it is impossible that you will receive, if you have turned your enemy’s sword from the line of your body; and this depends only on a small movement of the wrist, either inside or outside.
JOURDAIN: In this fashion, then, a man, with no courage, is sure to kill his man and not be killed?
MASTER OF ARMS: Without doubt.
—Molière [Jean Baptiste Poquelin], Le Bourgeois Gentilhomme, 1673. One of France’s most famous playwrights, Molière is poking fun at both the bourgeois and at anyone gullible enough to believe that swordplay is a simple matter.
…because whoever will be but at the Trouble to visit the Fencing-schools, shall scarcely see one Assault of ten, made either be Artists against Artists, or Artists against Ignorants, but what is so Composed and made up of Contre-temps [double touches resulting from an attack into an attack, or from simultaneous attacks], that one would think the greatest Art they learn, and aime at, is to strive who shall Contre-temps oftnest…
—Sir William Hope, The Sword-Man’s Vade-Mecum, 1694. True then, true later, true today in all forms of swordplay. Notwithstanding modern idealistic classical and historical fencers who believe, via an imagined nostalgia, that the swordplay of past eras was more correct and useful for the encounters with real blades, Hope, not to mention close study, dashes this notion. Double hits are the bane of swordplay, and it is difficult to eradicate them in both play and competition. And, given the large number of accounts of duels in which both antagonists were wounded in contre-temps or “exchanged thrusts,” it was clearly a problem in actual combat as well.
It is a prejudice to think that swordsmanship is meant solely to slash an opponent. It is meant not to slash an opponent, but to kill evil. It is a way of allowing ten thousand men to live by killing a single evil man.
—From the Heiho Kaden Sho (Family-Transmitted Book on Swordsmanship), seventeenth century, translated by Hiroaki Sato, 1985.
The accomplished man does not kill people by using his sword; he lets them live by using his sword.
—From Taia Ki (On the T’ai-a), seventeenth century, translated by Hiroaki Sato, 1985.
Far more courtesies and expectations of behavior than are given below may be found here: Fencing Salles & Fencing Commandments.
The salute is an usage established in all the fencing schools, in order to preserve the politeness that we owe to one another.
—J. Olivier, Fencing Familiarized /L’Art des Armes Simplifié, 1771. Note the phrase in all the fencing schools; the salute was generally not used in a duel or rencontre, at least not among the French and their disciples.
It is a polite custom to salute your opponent with your blade before the bout, and to offer him your hand at the end.
Once the fencer has taken the guard position, he must be considerate of his opponent. Neither fencer must talk during the bout. Fencing requires the greatest possible attention, and this may not be diverted in any way or for any reason except by fencing tactics.
In fencing against an opponent who acknowledges your superiority, sportsmanship demands that you do not make the most of your advantages; rather should you assist his swordplay as much as possible, and avoid placing him in a painful or ridiculous position by over-emphasizing your superiority.
—Luigi Barbasetti, The Art of the Foil, 1932
Don’t show any sign of bad temper if you are the loser.
Don’t get conceited, or be haughty, if you are the winner.
Don’t forget always to be modest and courteous.
If your adversary should prove far superior to you, do not show discontent or bad temper; do not be disheartened, keep up your style and do your best, no matter how badly you may be beaten. Take your defeat in the right spirit, it will help to improve you; take it as a lesson you needed. Remain always the “correct gentleman.
Not shaking hands with an adversary after a match or a rencontre is a great lack of courtesy, and should be reprimanded. Saluting an adversary previously to the beginning of a bout should be done before placing the mask on the head.
—Félix Gravé, Fencing Comprehensive, 1934
Une simple observation pour terminer: à l’épée comme au fleuret, le silence est de rigueur. La parole est aux armes, dit-on; c’est-à-dire que, seules, la tête el la main doivent agir.
A simple observation to end with: at epee as at foil, silence is mandatory. One lets the weapons speak; that is to say, the head and hand must act alone.
—Claude La Marche [Georges-Marie Félizet], Traité de l’épée, 1884.
No Scholar nor Spectator without a licence from the Master, should offer to direct or give advice to any of the Scholars, who are either taking a Lesson or Assaulting…First, because without permission they take upon them to play the Master; And secondly, because they reprove oft-times their Commerads for the same very fault they themselves are most guilty of, although perhaps not sensible of, which when By-standers perceive, they smile at them (and with just reason) as being both ignorant and impertinent; therefore it would be a great deal more commendable in them, to be more careful in rectifying their own faults, and less strict in censuring others.
—Sir William Hope, The Fencing Master’s Advice to His Scholar, 1692
On Becoming a Fencer
The way is in training.
The essence of this book is that you must train day and night in order to make quick decisions. In strategy it is necessary to treat training as a part of normal life with your spirit unchanging.
—Musashi Miyamoto, Go Rin No Sho (A Book of Five Rings), 1645.
For Fencing is an Art which depends mainly upon Practice, and who ever thinks to acquire it any other way, is I assure him mightily mistaken, and the more a man practice and with the more different humors, so much the better for him…
[S]o that let the greatest Artist in the World forbear but the Practice of it [fencing] for a twelve month, although I confess he can never loss [lose] the Judgement he hath acquired, yet he will certainly when he cometh to practice again, find his Body and Limbs stiffer, and his Hand and motions both for Defence and Offence, neither so exact, nor by far so swift, as if he had been in a continual Practice, I mean at least once a Week or Fortnight…
[T]here is as much difference betwixt taking a Lesson, or playing upon a Masters breast, and Assaulting or performing the same Lessons upon your Commerads, as there is betwixt the repeating of an eloquent Discourse already penned, and the composing of one.
—Sir William Hope, The Fencing Master’s Advice to His Scholar, 1692
Finally, Practice is the Marrow and Quintessence of the Art, for without that, a Papist may soon forget his Pater-noster; but by frequent Practice, a Man gains much experience daily, and is continually improving his Skill. This being the last Observation, and one of the chief, no Opportunities of Practising ought to be neglected.
—Zachary Wylde, The English Master of Defence, 1711
This being done, place yourself on the position of the guard, with a graceful, but unaffected appearance, animated with a brave boldness; for nothing requires a man to exert himself more than sword-defence, and it is as difficult to attain such an air of intrepidity without much practice, as it is difficult to become perfectly expert in the art.
Joseph Roland, The Amateur of Fencing, 1809.
Si vous voulez devenir un véritable tireur, certainement il vous faudra de longues années de travaux, de méditations sévères, d’exercices incessants.
If you would be an accomplished swordsman, you will certainly require years of hard work, close application, and incessant practice.
—César de Bazancourt, Les Secrets de l’Épée, 1862. The translation is from the English edition, Secrets of the Sword, 1900, translated by C. F. Clay.
It was soon over. The brute strength, upon which Levasseur so confidently counted, could avail nothing against the Irishman’s practiced skill.
—Rafael Sabatini, Captain Blood, 1922
…and that, too confident of himself, he had neglected to preserve his speed in the only way in which a swordsman may preserve it.
—Rafael Sabatini, The Black Swan, 1932
[A] man can never be called a compleat Sword Man, untill he can Defend himself with all kindes of Swords, against all sorts his Adversary can choose against him.
–Sir William Hope, The Compleat Fencing-Master, 1710.
L’escrime est une maîtresse capricious et frivole; elle résiste longtemps à ses adorateurs, mais, à ceux qui ont su la posséder, elle reserve des joies incomparables.
Fencing is a capricious and frivolous mistress; she long resists her suitors, but, to those are able to possess her, she reserves incomparable joys.
—Dr. Achille Edom, L’Escrime, le Duel & l’Épée, 1908
Another advantage which single-stick possesses is that you may learn to play fairly well even if you take it up as late in life as at five and twenty; whereas I understand that, though many of my fencing friends were introduced to the foil almost as soon as to the corrective birch, and though their heads are now growing grey, they still consider themselves mere tyros in their art.
—R. G. Allanson-Winn, Broadsword and Singlestick, 1911
Look at what a lot of things there are to learn—pure science, the only purity there is. You can learn astronomy in a lifetime, natural history in three, literature in six. And then, after you have exhausted a milliard lifetimes in biology and medicine and theocriticism and geography and history and economics—why, you can start to make a cartwheel out of the appropriate wood, or spend fifty years learning to begin to learn to beat your adversary at fencing. After that you can start again on mathematics, until it is time to learn to plough.
—Merlin speaking to Wart, in T.H. White’s The Once and Future King, 1958
The more you understand fencing, the more you will enjoy it. This particularly applies to the novice for, like all highly skilled games, it is easy to be put off by the chore of having to begin right at the beginning.
—Bob Anderson, All About Fencing, 1963. Mr. 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. He died in January, 2012, and was inexplicably and inexcusably left out of the In Memoriam tributes at the 2012 and 2013 Oscars.
[G]enerally speaking, few persons, except those of liberal education, ever think of, much less learn, the Art of Fencing, and they, of course, are understood to be familiar with the French language.
—Joseph Roland, The Amateur of Fencing, 1809
To be in possession of what you know, you must be in possession of yourself.
—le sieur Labat, L’art en fait d’armes, 1696, from Mahon’s translation entitled The Art of Fencing, 1734
For, Anthony, he that would be a true sword-master must first be master of himself, then of his blade, so shall he be master of his adversary. You follow me, I hope?
—Jeffery Farnol, Adam Penfeather, Buccaneer, 1940
Well, a man is as he is trained.
—Sir Arthur Conan Doyle, Micah Clarke, 1894
Fencing, like other sciences, cannot be degraded to a mechanical art, that may be infallibly practiced by a receipt; nor can it be thoroughly and completely acquired by only reading a book on the subject.
At the same time, I earnestly caution the intelligent young amateur, before he adopts any of these new methods of executing the different movements, &c. in Fencing, to submit them to the test of the strictest examination, and to determine, if possible, how far they appear to be consistent with reason and practicability.
[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.
They are shown both methods, and after a proper demonstration of their respective merits, I always leave it to their own judgment, to practise that which they find by experience to succeed best. It is on this principle alone I wish all my observations to be weighed. I detest the maxim of acting upon mere authority, without any convincing proof.
—Joseph Roland, The Amateur of Fencing, 1809
This is what made him a great coach: he taught strategy and tactics, not just attacks and parries. He taught you how to analyze your opponents, get inside their heads, figure out what they would do, what were their strengths and weaknesses. He taught you to have confidence in yourself, to work hard, to settle for nothing less than the best you could do. He knew how to coax, insult, and inspire his students to achieve ever greater heights of success.
—Roger Jones, describing Lajos Csiszar in an article, 2000. Csiszar was one of Italo Santelli’s three protégés, and coached Dr. Eugene Hamori after he defected to the US during the 1956 Olympic Games (and after the Hungarian saber team won gold). From an article by Roger Jones, 2000. Jones was one of Csiszar’s US students as well as a member of the 1955 and 1957 US epee teams, an alternate to the 1956 Olympic team, a longtime AFLA/USFA official, a strong opponent of gamesmanship and cheating, and, of course, like many male students of Santelli, Szabo, Csiszar, Zold, and Hamori, a gentleman and a swordsman.
While training, the pupil should naturally practice and experiment ignoring for the time being the question of his powers of hitting, so that he can constantly enrich his knowledge and skills.
Fencing lessons built up systematically, practice under bout-like conditions, exercises “au-mur”, conventional exercises, exercises designed to parry attacks, bouts, systematic free fencing, unlimited bouts, bouts fenced until 5 or 10 hits [and today, 15] and competitive fencing constitute the framework within which the fencer can grow to the stature of a competitor.
—Imre Vass, Párbajtörvívás, 1965, from the first English translation, Epee Fencing, 1976
American fencers and coaches should understand and build their program on the fact that the coach’s role is only 10 percent of the total effort. Fencers must rely on themselves in training and in competition. Coaches should not try to ‘sell’ themselves to the students. Students must become independent.
[Smaller competitions are] “practice competitions,” where the fencer does not necessarily have to win, rather, he should use a wide variety of his moves while checking and following his progress. On major competitions, the fencer should always try to win, and go all out to win, “even if he only has one move…”
—Kaj Czarnecki, American Fencing, Jan/Feb 1980. Mr. Czarnecki is a Finnish Olympic epee fencer and fifteen time Finnish and Scandinavian champion, winning in all three weapons. He was a leading coach in Sweden, helped train Johan Harmenberg, and eventually became one of the epee coaches at the US Modern Pentathlon Training Center at Fort Sam Houston. I heard him make similar remarks during an epee clinic at the Mardi Gras Fencing Tournament in New Orleans that spring. Too few coaches take these views today, with the result that many fencers are anything but independent on the strip or elsewhere.
Always combine footwork with techniques being practiced.
Footwork and more footwork. Speed and more speed.
Develop these qualities
1. Smoothness 2. Ease 3. Accuracy
To find stillness in movement, not stillness in stillness.
—Bruce Lee, from his notes on “Incorporating fencing principles,” quoted from Jeet Kune Do: Bruce Lee’s Commentaries on the Martial Way, compiled and edited by John Little, 1997. Bruce Lee studied both Western boxing and Western fencing, and incorporated some of their principles in Jeet Kune Do.
The En Garde: Three Not Incompatible Opinions
The bravest gentlemen of arms, which I have seen, were Sir Charles Candis, and the now Marquis of Newcastle, his son, Sir Kenelm Digby, and Sir Lewis Dives, whom I have seen compose their whole bodies in such a posture, that they seemed to be a fort impregnable. They were the scholars of John de Nardes of Seville in Spain, who with the dagger alone, would encounter the single rapier and worst him. This exercise is most necessary for you, and also excellent for your health.
—William Higford, Institutions: Or, Advice to His Grandson, 1658
This being done, place yourself on the position of the guard, with a graceful, but unaffected appearance, animated with a brave boldness…
In whatever attitude you may think it necessary to present yourself facing your adversary, if your mind is prepared to attack and defend, you will be, properly speaking, “on guard.”
—Joseph Roland, The Amateur of Fencing, 1809
In your en garde you must lean forward slightly and thereby appear to be always in motion, as if you are always attacking. When your opponent looks at you, he or she must believe you are constantly attacking no matter what you are doing.
— Dr. Eugene Hamori, as best I recall, to me forty years ago, to my wife within the past five.
On Patience as a Fencing Virtue: Epeeists, Take Heed!
’Prevail by patience,’ is the motto of my house, and I have taken it for the guiding maxim of my life.
—de Bernis, in Rafael Sabatini’s The Black Swan, 1932. The novel builds to a duel at the climax.
(Patience conquers, to conquer or prevail via patience.)
—Old motto and the likely Latin version of the motto of Charles de Bernis, Sabatini’s hero in The Black Swan. Used by the Huntsville Fencing Club until replaced with the motto below.
Patientia ferox vincit.
(To conquer or prevail via a fierce or warlike patience.)
—Modification of patientia vincit based on my experience fencing and teaching fencing, for the Huntsville Fencing Club and Salle de Bernis, 2012
Patience need not be passive!
—To my fencing students, circa 2005 to the present.
L’assaut en un coup demande de la prudence, mais non de l’inactivité.
An assault for one touch demands prudence, but not inactivity.
—J. Joseph Renaud in L’Escrime: fleuret, par Kirchoffer; épée, par J. Joseph Renaud; sabre, par Léon Lécuyer, 1913. Compare with Patientia Ferox Vincit and “Patience need not be passive!” above. I discovered this quote in April 2013, proving, yet again, that there is little original in fencing, and none of us are as original as we think we might be.
Patience is the first virtue of an épée fencer.
—Luigi Barbasetti, The Art of the Sabre and the Épée, 1936
A l’épée, il faut savoir attendre.
In epee, one must know how to wait.
—Claude La Marche [Georges-Marie Félizet], Traité de l’épée, 1884. The translation is by Brian House from his excellent English version, The Dueling Sword, 2009
—Dr. Francis Zold, personal communication during a lesson, 1978
Fencing Qualities, Techniques, & Tactics
La fortune aidait souvent la valeur un peu téméraire.
Fortune often aids valor that is a bit reckless.
—Capt. René Duguay-Trouin, Mémoires, 1741. Duguay-Trouin was a famous late 17th and early 18th century French privateer and naval officer who once captured a ship by boarding it, then engaging the enemy captain single-handedly, sword-in-hand, forcing him to surrender in the style of the great Hollywood swashbucklers. He was a duelist (bretteur) when young, and later brought at least one fencing teacher (a master’s assistant) aboard his ship in order to improve his crews’ fighting ability. He later had a rencontre in the street with the fencing teacher, a fight that was anything but academic. The quotation may derive from audentis fortuna iuvat, later written by Virgil as audaces Fortuna iuvat (Fortune aids the bold). Similar is the SAS motto, “Who Dares Wins.”
Dans le noble exercice des armes, ce n’est pas aux audacieux que sourit la fortune, mais aux persévérants.
In the noble exercise of arms, it is not the audacious that Fortune smiles upon, but on those who persevere.
—Anthime Spinnewyn, L’Escrime à l’épée, 1898. My translation. Compare with Duguay-Trouin above, and with the admonitions of Francis Zold and Nobuo Hayashi below.
Joignez dans le combat, la valeur à la prudence, la peau du Lion à celle du Renard.
In battle let valour and prudence go together, the lyon’s courage with the fox’s craft.
—le sieur Labat, L’art des armes, 1696. The English is from Andrew Mahon’s translation, The Art of Fencing, 1734.
The man in the periwig, whose every movement was as swift and light-footed as a cat’s, lowered the sword point.
John Dickson Carr, The Devil in Velvet, 1951
Fencing without Judgement, is just like a Watch without a Spring, a Neat piece of Work with a great many fine Wheels, but without any Motion, the want of which maketh her useless.
—Sir William Hope, The Sword-Man’s Vade-Mecum, 1694
[T]he true Art of Sword-defence depends, in great measure, on judgement in deceiving the adversary’s motions, and in not being deceived by his.
—Joseph Roland, The Amateur of Fencing, 1809
For what are all strategems, ambuscades, and outfalls but lying upon a large scale?
—Sir Arthur Conan Doyle, Micah Clarke, 1894
Perhaps it would not be an exaggeration to say that the fencer’s skill in tactics is displayed to a large degree by the ability to mislead an opponent, to recognise the opponent’s intentions and to discern any attempts to be mislead.
—Zbigniew Czajkowski, “Fencing Actions—Terminology, Their Classification and Application in Competition,” n.d.
A duel, whether regarded as a ceremony in the cult of honor, or even when reduced in its moral essence to a form of manly sport, demands a perfect singleness of intention, a homicidal austerity of mood.
—Joseph Conrad, The Duel, 1908. Conrad’s story was based on the actual tale of a long-running series of duels between two Napoleonic officers. It was later made into an excellent film, The Duellists, 1977.
Be simple, be smart. Don’t move your weapon until you are ready to use it… then SHOOT! Let the younger fencers become eager and make mistakes. Against the older ones, use your speed and strength. Remember, mano de ferro, braccio di gomma—have a hand of iron and an arm of rubber.
—Italo Santelli, quoted by Lajos Csiszar quoted by Roger Jones, [1950s] 2000.
Ratón que se sábe mas de un horádo, présto le cagé el gáto.
The cat soon catches the rat that knows but one hole. [More literally: the mouse who knows more than one hole soon escapes the cat.]
—proverb quoted in John Stevens, A New Spanish Grammar, 1725
Rouse me not.
—The Conisby family motto, from Jeffery Farnol’s swashbuckler Martin Conisby’s Vengeance, 1921. Some fencers, myself included, fence well when “roused” or angered, at least for a while, although historical the usual advice has been to keep one’s anger and temper reined in. See also Dr. Eugene Hamori’s advice to me below.
One last bit of advice for the strip: Get MAD at your opponents, at the director, at the world, etc., when you fence and quit apologizing for yourself.
But if it works for you, then do it.
—Dr. Eugene Hamori, personal correspondence, 1995
And, remember, there is nothing bad in fencing, provided that it succeeds.
—Sir Richard Burton, The Sentiment of the Sword, 1911 See also Eugene Hamori above. It should be noted that Burton is, in the case of salle fencing and dueling, speaking only of honorable fencing, certainly not the gamesmanship and “cheating within the rules” far too many fencers, albeit a minority thankfully, consider fair play.
[The epee or duelling sword] is a democratic weapon in that the less skillful fencer always has a chance to win; but it is an exacting task for a fencer consistently to achieve distinction in duelling sword unless he combines a fundamentally sound technique with the instinct of strategy.
—Julio Martinez Castello, The Theory and Practice of Fencing, 1933
Épée fencing requires a special technique, courage, opportunism and concentration of effort in the highest degree. It is the highest expression of the art of fencing, because it alone is based on the conception of hitting the opponent without oneself being hit… Litheness, agility and speed, which are the essentials for the successful épéeist, are largely based on his footwork… Épée fencing is par excellence a game of timing, tactics and bluff… Subtlety, bluff and courage are salient features of this game… While caution is essential with the duelling weapon, the best devised moves will come to naught unless the épéeist possesses courage to risk everything when the right opportunity presents itself.
—C-L de Beaumont, OBE, in Fencing: Ancient Art and Modern Sport, 1960
There is in steel a subtle magnetism which is the index of one’s antagonist.
—Rafael Sabatini, The Suitors of Yvonne, 1902
Here was a man whom much and constant practice had given extraordinary speed and a technique that was almost perfect. In addition, he enjoyed over André-Louis physical advantages of strength and length of reach, which rendered him altogether formidable. And he was cool, too; cool and self-contained; fearless and purposeful. Would anything shake that calm, wondered André-Louis.
—Rafael Sabatini, Scaramouche, 1921
NOVEL: Pshaw! Talking is like Fencing, the quicker the better; run ‘em down, run ‘em down; no matter for parrying; push on still, sa, sa, sa: no matter whether you argue in form, push in guard, or no.
MANLY: Or hit, or no; I think thou alwayes talk’st without thinking, Novel.
—William Wycherley, The Plain-Dealer, 1674. The lines are satire. Captain Manly is an honest plain-speaking fighting seaman who serves “out of Honour, not Interest,” while Novel is “a pert railing Coxcomb,” or in other words, an ass, and clearly no swordsman either.
Be not over elated at the thrusts you hit with, nor despise those by which you are hit.
Never set any value upon any thrust you give, before you examine whether it was well given, without any danger attending it.
Study the danger and advantage of every thrust you make.
—Andrew Lonnergan, The Fencer’s Guide, 1771.
This last fault of drawing back the hand on the attack, or in plain terms, stabbing, deserves a word by itself. It is perfectly fatal to good fencing…Before delivering his point, the stabber checks the onward movement of the blade by drawing back the hand, and therefore loses all the space and time wasted in first withdrawing the hand from the starting-point and then returning to it. While this process is going on, all the opponent has to do is to straighten, which is clearly quicker, as it is all on the way. No sane man would dream of laying himself open in such a way if he were engaged in fighting for his life…
— Henry Arthur Colmore Dunn, Fencing, 1899. Unfortunately, this technique of “stabbing” (i.e. “bent arm attacks”) and the dangers it holds to the user were swords real, is now considered an acceptable form of attack—in fact, it is the most common—in modern foil and saber fencing, to the point [pun half-intended] that neither weapon much resembles actual combat anymore, but are more akin to a game of tag with steel rods, all governed by a set of esoteric rules pandering to an imaginary audience.
Never give up!
—Dr. Francis Zold, personal communication, 1977-1978. This was one of his admonitions to all of his students.
A man never gives up! A man dies first!
—Nobuo Hayashi, my judo and jiujutsu teacher, 1979. Sensei Hayashi was brought up before and during WWII in the old jiujutsu, had trained to become a Kamikaze pilot, and won the Japanese university judo championship in the late 1950s. He made this comment after a student, attempting to escape him on the mat, gave up. He also, as I recall, ordered the student to leave the dojo/gym.
Ne tirez l’épée que pour servir le Prince , conserver vôtre honneur ou défendre vôtre vie.
Draw not your sword, but to serve your king, preserve your honor, or defend your life.
—le sieur Labat, L’art des armes, 1696, from Andrew Mahon’s translation, The Art of Fencing, 1734
Never lose on purpose, you must always fence to win for your honor!
—Lajos Csiszar, quoted by student Roger Jones, 2000. The quote dates to the 1950s, and probably earlier.
To paraphrase Theodore Roosevelt, “the things that will destroy American fencing are victories at any price, prestige at any price, expenses first instead of honor first, and love of subsidies and the state-supported athlete theory of ‘amateur sports.’”
—Roger Jones, “Poor Technique?” in American Fencing, March 1966
It is happily true that in England we no longer curb the indiscreet utterance of undisciplined lips with cold steel, nor adopt the crude method of letting in light upon the mind through a hole in the body.
—Henry Arthur Colmore Dunn, Fencing, 1899
So in their own sense Duelling cannot properly vindicat[e] any opprobrious epithet, but that of a Coward.
—Wm. Anstruther, Essays, Moral and Divine, 1701
I mention these to caution you on all occasions to be on your Guard, and not to trust any man whatever who is your adversary. For many have been deceived by not taking care of themselves in these cases, tho’ their adversaries have been men of strict honour, as they thought, and that they would not be so base and villainous as to be guilty of any thing below the character of Brave Men and Gentlemen. Experientiæ Docet.
—Donald McBane, Expert Sword-man’s Companion, 1728. McBane, a Scot, was a veteran soldier wounded several times in action, as well as a swordsman, duelist, fencing master, occasional pimp, and prize fighter. He is also the man for whom “Soldier’s Leap” is named in Scotland. Good advice not only for a duel, but for life in general.
The honor of some adversaries can never be relied on safely. In a selfish or revengeful spirit, many persons might be disposed to commit assassination, for which reason, friends and time are always indispensable.
No boast, threat, trick, or stratagem, which may wound the feelings, or lessen the equality of the combatants, should ever enter into the contemplation of a gentleman.
—Joseph Hamilton, The Approved Guide Through All the Stages of a Quarrel, 1829. The first quotation is in the vein of McBane, above. Many have honor in the mundane, when there is little risk to life, limb, property, money, or reputation; far fewer have honor where there is much risk or peril.
Eh bien! les duellistes poitevins qui ont laissé à bon titre le renom d’adversaires dangereux, Bourbeau (un cousin de l’ancien ministre), Lemaire, le fameux de Pindray — jen passe — n’étaient pas classés parmi les forts tireurs. Je le tiens de mon vieux professeur, le père Nerrière, un maître de l’école de Lafaugère que M. Legouvé a peut-être connu et qui m’a répété plus d’une fois que de Pindray, redoutable, terrible sur le terrain, n’avait travaillé sérieusèment à la salle qu’après ses duels les plus retentissants.
Well! The duelists of Poitou who have left good title to being renowned as dangerous adversaries, Bourbeau (a cousin of the former minister), Lemaire, the famous de Pindray—I pass over others—were not classified among the strongest fencers. I learned from my old professor, Nerrière the father, a master of the school of Lafaugère that Mr. Legouvé has perhaps known and who told me more than once that de Pindray, deadly, terrible on the field of honor, trained seriously in the salle only after he had fought his most sensational duels.
—Arthur Ranc, in the preface to Jules Jacob’s Le jeu de l’épée, revised by Émile André, 1887.
I mention this affair to show that something more than skill is necessary when using a naked weapon or shotted pistol; and the most able fencer and the first-rate shot are not always the best men in the field.
—Andrew Steinmetz, The Romance of Duelling, 1868.
To avoid those Desperate Combats, my Advice is for all Gentlemen, to take a hearty Cup, and to Drink Friends to avoid Trouble.
—Donald McBane, The Expert Sword-Man’s Companion, 1728. Again, good advice in general.
Pen & Sword
Pour un oui, pour un non, se battre, —ou faire un vers!
For a yes, for a no, to fight, —or write a verse!
—Edmund Rostand, Cyrano de Bergerac, 1897.
Tomando ora la espada, ora la pluma.
Now taking up the sword, now the pen.
—Garcilaso de la Vega, Égloga III (v.40), early 16th century. Garcilaso was a 16th century Spanish soldier-poet and true Renaissance man. He died in 1536 of wounds suffered in battle at Le Muy, France. Armas y lettras—arms and letters—is a common theme in 16th and 17th century Spanish literature.
Nunca la lanza embotó la pluma ni la pluma la lanza.
The lance never blunted the pen nor the pen the lance.
—Sancho Panza in Don Quixote by Miguel de Cervantes
I’ll make thee glorious by my pen,
and famous by my sword;
—James Graham, Marquis of Montrose, “I’ll never love Thee more,” 1642 or 1643. Sir Walter Scott reversed glorious and famous, apparently not appreciating the attachment of glory to the pen. Montrose, a Scottish hero, led a guerrilla campaign through the Highlands against Cromwell’s forces. In the end he was hanged, instead of being beheaded as was due given his rank. His body was decapitated after his death, and his head was piked at the Tollbooth in Edinburgh.
[H]ow much more cruel the pen may be than the sword.
—Robert Burton, The Anatomy of Melancholy, 1621
Pen and sword in accord.
—Japanese, 17th century or earlier.
—Literally, “Hey there!” Often shouted during a vigorous exchange ending in a successful touch, or at least it once was until recently. More embarrassingly, it is sometimes shouted in expectation of a touch that ultimately fails. In Cyrano de Bergerac is the shout “Hé! Là donc!”—that is, “Hey! There thus!” Many old French masters and fencers believed in absolute silence during swordplay, while many Italians permitted some expressions. An occasional Hé là! is acceptable in my opinion; anything else is boorish.
Hé là, Pamela!
—Dr. Francis Zold, in lessons he gave throughout his life. I once asked Chaba Pallaghy, an elite Hungarian and US fencer and international official who knew Dr. Zold well, what it meant, he said it was simply something that the gentleman, scholar, and swordsman said. So many times I heard him say this in my lessons when I did something well. It is as imprinted upon my fencing soul in the same manner as, “One more, one more, yes, very nice,” as spoken by Dr. Eugene Hamori in his lessons to me.
Mardieu, depuis le temps je me serois mis en garde, j’aurois gagné la mesure, je l’aurois rompue, j’aurois surpris le fort, j’aurois pris le temps, j’aurois coupé sous le bras, j’aurois marqué tous les batemens, j’aurois tiré la flanconade, j’aurois porté le coup de dessous, je me serois allongé de tierce sur les armes, j’aurois quarté du pied gauche, j’aurois marqué feinte à la pointe et dedans et dehors, j’aurois estramaçoné, ébranlé, empiété, engagé, volté, porté, paré, riposté, carté, passé, désarmé et tué vingt hommes.
God’s Death, in the time it would take to put myself on guard, I would gain the measure, retreat a step, surprise the forte, take the tempo, make a coupé beneath the arm, make all the beats, make a flanconnade, make a thrust below, lunge in tierce in opposition, make an inquartata, feint with the point inside and outside, make a cut, concuss my enemy, invade, engage, volt, thrust, parry, riposte, chase, pass, disarm, and kill twenty men.
—Chasteauforte, in Cyrano de Bergerac’s Le Pedant Joué, 1654, written in 1645. Chasteauforte takes a beating while he talks about his prowess as a swordsman. The character probably derives from Plautus’ Miles Gloriosus, the boastful cowardly soldier, and from experience as well. As the Spanish might put it, He who boasts of it did not do it. If you want to be taken seriously, prove yourself with deeds, not words.
Mardieu is an exclamation deriving from mordieu or mort de Dieu = God’s death. Surpris le fort is to be found nowhere else in the literature of sword; it may be intended to indicate grasping the adversary’s blade at the forte with one’s hand, a common technique when grappling. It may also indicate a prise de fer or even simply a proper thrust, fort against foible. Or, it may be satire, suggesting that Chasteauforte is so foolish a fencer as to attempt with his own blade to seize the fort of his adversary’s, rather than the foible.
The real Cyrano de Bergerac was a redoubtable swordsman who fought literally dozens of duels and affrays, and reportedly once singlehandedly routed a mob of a hundred or more. He also had a large nose, and was a famous French writer whose work includes the story of a trip to the moon, arguably the first science fiction and fantasy novel. Rostand’s Cyrano is a Gascon, based on his name, de Bergerac. However, the real Cyrano was a Parisian.
Enter Petro drest like a French Fencing Master.
Pet. Signior Barberacho has sent me to teach you de Art of Fencing.
Sir Signall Buffoon. Illustrissimo Signior Monsieur, I am the person who am to learn.
Tickletext. Stay Sir stay,—let me ask him some few questions first, for Sir I have play’d at Back-Sword and cou’d have handled ye a weapon as well as any man of my time in the University.
Sir Sig. Say you so Mr. Tickletext, and I‘faith you shall have about with him
[Tick. Gravely goes to Petro.
Tick. Hum—hum—Mr. Monsieur—pray what are the Guards that you like best?
Pet. Monsieur, eder de Quart or de Terse, dey be both French and Itallian; den for your Parades, degaements, your advancements, your Eloynements, and Retierments: dey be de same;
Tick. Cart and Horse, what new found inventions and words have we here,—Sir I wou’d know, whether you like St. Georges Guard or not.
Pet. Alon—Monsieur, Mette vous en Guard! take de Flurette.
Sir Sig. nay faith and troth Governor thou that have a Rubbers with him.
[Tick. Smiling refuses.
Tick. Nay certo Sir Signal,—and yet you shall prevail;—well Sir, come your ways?
[Takes the Fluret.
Pet. Set your right foot forward, turn up your hand so—dat be de Quart—now turn it dus—and that be de Terse.
Tick. Hocus Pocus, Hicksius Doxius—here be de Cart, and here be de Horse—why, what’s all this for, hah, Sir—and where’s your Guard all this while?
Sir Sig. Ay, Sir, where’s your Guard, Sir, as my Governour says, Sir, hah?
Tick. Come, come, Sir, I must instruct you, I see; Come your ways, Sir.—
Pet. Attende, attende une peu—trust de right hand and de right leg forward together.—
Tick. I marry Sir, that’s a good one indeed: What shall become of my Head then, Sir? what Guard have I left for that, good Mr. Monsieur, hah?
Pet. Ah, Morbleu, is not dis for everyting?
Tick. No, marry is not it, Sir; St. George’s Guard is best for the Head whilst you live—as thus, Sir.
Pet. Dat, Sir, ha, ha—dat be de Guard for de Back-Sword.
Tick. Back-sword, Sir, yes, Back-sword, what shou’d it be else?
Pet. And dis be de Single Rapier.
Tick. Single-Rapier with a Vengeance, there’s a weapon for a Gentleman indeed; is all this stir about Single-Rapier?
Pet. Single-Rapier! What wou’d you have for de Gentleman, de Cudgel for de Gentleman?
Tick. No, Sir, but I wou’d have it for de Rascally Frenchman, who comes to abuse Persons of Quality with paltry single Rapier.—Single Rapier! Come, Sir, come—put your self in your Cart and your Horse as you call it, and I’ll shew you the difference.
—Aphra Behn, The Feign’d Curtizans; or, a Night’s Intrigue, 1679. Satire on a fencing lesson and fencing language, in other words, with sallies against French masters and backsword versus smallsword or, as it is called here, single rapier. Aphra Behn was the first professional woman writer in the UK. She was also briefly a spy.
For at Broad-Sword, all the Blows, Chops, Strokes, Pitches, Thro’s, Flirts and Slips, are perform’d over the Point of the Sword, unless you fall to the Leg: But at Small-Sword, all Thrusts, Passes, Pushes, Assaults, Essays and Passages, are commonly made under the Shell, (unless it be Cart or Ters over Arm,) close to the Fort of your Opponents Weapon, with a Longe, or you cannot reach to do Execution.
The next thing I shall proceed to, is to the Terms of Art and Variety of Assaults, Pushes, Thrusts, Essays, Passes and Passages, all which are lodged under the Notion of True and False Play. True Play is a clean made Pass, Push, Assault or Thrust, directly perform’d, without change or alteration of the Point of your Weapon at any part or place of your Opponent you discover lies most open, or in answering your Opponent from his Assault. False Play or Falsifying, I call Quibles, Dazzels, Feints, Fallacies, Shams, Decoi’s and Enganuo’s, all which I shall explain in their Order.
Zachary Wylde, The English Master of Defence, 1711. Much of Mr. Wylde’s charming fencing vocabulary is his, and his alone.
From a room beyond, the door of which was closed, came the stamping of feet, the click and slither of steel upon steel, and dominating these sounds a vibrant, sonorous voice speaking a language that was certainly French; but such French as is never heard outside a fencing-school. “Coulez! Mais, coulez donc!…So! Now the flanconnade—en carte…And here is the riposte…Let us begin again. Come! The ward of tierce…Make the coupé, and then the quinte par dessus les armes…O, mais allongez! Allongez! Allez au fond!” the voice cried in expostulation. “Come, that was better.” The blades ceased.
—Rafael Sabatini, Scaramouche, 1921
Revenge with a Sword
Honor and revenge have no alliance; therefore, reparation for offence or injury, is all that can be fairly sought for, or conceded.
—Joseph Hamilton, The Approved Guide Through All the Stages of a Quarrel, 1829. In other words, a duel must be fought for the sake of honor alone. A combat for the sake of revenge is a mere single combat, yet should, paradoxically, still be fought with honor, at least until the villain, Hollywood style, betrays his honor, which is probably why the rencontre is being fought in the first place.
Oui, s’écria-t-il, voici la fille de Nevers!….Viens donc la chercher derrière mon épée, assassin! toi qui as commandé le meurtre, toi qui l’as achevé lâchement par derrière!… Qui que tu sois, ta main gardera ma marque. Je te reconnaîtrai. Et, quand il sera temps, si tu ne viens pas à Lagardère, Lagardère ira à toi!
Yes, cried he, here is the daughter of Nevers!….Come therefore and search for her behind my sword, assassin! You who have commanded murder, you who have achieved it by backstabbing cowardice! Whoever you are, your hand has my mark. I will recognize you. And when the time comes, if you will not come to Lagardère, Lagardère will come to you!
—Lagardère, in Paul Feval’s Le Bossu, 1857. Feval, along with Dumas (who probably inspired him) et al, helped establish the swashbuckling genre in literature. He also wrote a series each of vampire and crime detection novels. The phrase, “Si tu ne viens pas à Lagardère, Lagardère ira à toi!” became proverbial in France.
In both men the same grim determination prevailed. The opponent must be killed; there could be no half-measures here.
—Rafael Sabatini, Scaramouche, 1921
The next morning, Inigo began the track-down. He had it all carefully planned in his mind. He would find the six-fingered man. He would go up to him. He would say simply, “Hello, my name is Inigo Montoya, you killed my father, prepare to die,” and then, oh then, the duel.
—William Goldman, The Princess Bride, 1973
I shall write villain upon him with my rapier’s point.
—Sir Arthur Conan Doyle, Micah Clarke, 1894
Then I’ll take her when you’re dead.
—Peter Blood, in Captain Blood by Rafael Sabatini, 1922. Captain Blood engages Captain Levasseur in a rencontre on the beach of Virgin Magra, Sabatini’s joke on the name of Virgin Gorda. In the novel the duel is but briefly described, but is one of the highlights of the 1935 film version with Errol Flynn. The film duel appropriates for its finale the trick of fence described in Sabatini’s The Black Swan. The duel was filmed at Three Arch Bay, just south of Laguna Beach. Naturally, the duel, only briefly described, is over a woman’s honor on the one hand, and over her possession on the other.
He jests at scars that never felt a wound.
—Wm. Shakespeare, Romeo and Juliet, Act 2, Scene 2.
MERCUTIO O calm, dishonourable, vile submission!
Alla stoccata carries it away.
Tybalt, you rat-catcher, will you walk?
TYBALT What wouldst thou have with me?
MERCUTIO Good king of cats, nothing but one of your nine
lives; that I mean to make bold withal, and as you
shall use me hereafter, drybeat the rest of the
eight. Will you pluck your sword out of his pitcher
by the ears? make haste, lest mine be about your
ears ere it be out.
TYBALT I am for you.
ROMEO Gentle Mercutio, put thy rapier up.
MERCUTIO Come, sir, your passado.
MERCUTIO Zounds, a dog, a rat, a mouse, a
cat, to scratch a man to death! a braggart, a
rogue, a villain, that fights by the book of
—Wm. Shakespeare, Romeo and Juliet, Act 3, Scene 1. The “book of arithmetic” reference is to forms of rapier play emphasizing geometry, the extreme form of which was the Spanish verdadera destreza mocked by poet and playwright Francisco de Quevedo.
HAMLET This likes me well. These foils have all a length?
OSRIC A hit, a very palpable hit.
LAERTES A touch, a touch, I do confess ‘t.
HAMLET Come, for the third, Laertes: you but dally;
I pray you, pass with your best violence;
I am afeard you make a wanton of me.
—William Shakespeare, Hamlet
More from Swashbuckling Literature & Film
Villain, unhand the Lady, and defend thy self. [Draws
Have at thee—St. George for England.
—Lovewell in Love and a Bottle by George Farquhar, 1698
Un pour tous! Tous pour un!
One for all! All for one!
—Alexandre Dumas, Les Trois Mousquetaires, 1844. The lines are often misquoted or poorly translated as “All for one and one for all!”
Les coquilles tintent, ding-don.
* * *
Prince, demande á Dieu pardon!
Je quarte du pied, j’escarmouche,
Je coupe, je feinte…
Hé! Là donc!
(Le vicomte chancelle; Cyrano salue.)
A la fin de l’envoi, je touche.
The coquilles ring, ding dong.
* * *
Prince, ask God for pardon!
I thrust in fourth, I skirmish,
I cutover, I feint…
Hey! There thus!
The viscount staggers; Cyrano salutes.
At the end of the refrain, I touch.
—Edmund Rostand, Cyrano de Bergerac, 1897. My translation. The phrase “Je quarte du pied” is not found in fencing language, at least I haven’t so far. Translated directly, it might mean “I put the foot more in fourth position” which is meaningless, or “I parry [or thrust] in quarte standing still” (du pied [ferme]), which makes much more sense. A reasonable translation might also be that of making a quarter turn, or inquartata. The verb quarter is only found in French in late 19th century fencing language as far as I can tell, meaning to place the arm or sword more in the fourth position.
He heard them, wheeled about, flung off his coat, and disengaged his sword, all with the speed of lightning and the address of the man who for ten years had walked amid perils, and learned to depend on his blade.
“You fence skillfully,” said he, sneering, “too skillfully for an honest man. Will you now tell me without any more of this, precisely what the Princess Sophia was doing here with you?”
—Rafael Sabatini, “The Tragedy of Herrenhausen” in The Historical Nights Entertainment, 1917. The story concerns the Swedish Count of Konigsmark and his affair, physical or otherwise, with the Princess Sophia Dorothea, wife of the unfaithful and crude yet intellectually enlightened Georg Ludwig, ruler of Hanover in Germany and the future George I of Great Britain. Most historians believe the Count was murdered on the order of Georg Ludwig. His brother is credited with inventing the colichemarde blade although the form was around before him. If the brother had any part in its more modern invention and use, the inspiration may have come from some of the by light, well-balanced Spanish rapier blades thick at the forte, or even from some of the rapier-style colichemarde blades found in some Dutch or German transitional swords.
He was born with a gift of laughter and a sense that the world was mad.
“Oh, you are surely mad! M. de La Tour d’Azyr is reputed the most dangerous sword in France.”
“Have you never noticed that most reputations are undeserved?”
The slender, wickedly delicate blades clashed together, and after a momentary glizade were whirling, swift and bright as lightnings, and almost as impossible to follow with the eye.
—Rafael Sabatini, Scaramouche, 1921. The gift of laughter quote was added to a Yale dormitory during construction in the 1930s, then ordered covered over with ivy when it was discovered by Yale dons that the quote was from a “mere” popular novelist. It has since been restored.
The light of guttering candles fell upon the two small-swords where they lay, the one glittering brightly, the other its murderous steel horribly bent and dimmed…
—Jeffery Farnol, Sir John Dering, 1923
Clash and ring of vicious steel that flickered in close and deadly action; stamp of feet and hiss of quick-drawn breath; skill and scorn of death against murderous craft and imperious will. To and fro, up and down, back and forth, they fought with no stay or respite now, changing their ground with nimble volts and dexterous passes, while slowly yet surely, Adam compelled his enemy in the one direction.
“Sir,” he sighed, “as one swordsman and maître d’armes academique to another, I do here acknowledge a palpable hit and cry: ‘Touché!’ Indeed, you have tongue nimble and unexpected as your sword. Sir, I can appreciate wit, I can admire swordcraft, but though you possess both, I regret to say you prove yourself so extreme detestable that I propose to rid myself of you once and for all.”
—Jeffery Farnol, Adam Penfeather, Buccaneer, 1940
Inigo Montoya: You are using Bonetti’s Defense against me, ah?
Man in Black: I thought it fitting considering the rocky terrain.
Inigo Montoya: Naturally, you must expect me to attack with Capo Ferro?
Man in Black: Naturally, but I find that Thibault cancels out Capo Ferro. Don’t you?
Inigo Montoya: Unless the enemy has studied his Agrippa… which I have!
* * *
Inigo Montoya: You are wonderful.
Man in Black: Thank you; I’ve worked hard to become so.
Inigo Montoya: I admit it, you are better than I am.
Man in Black: Then why are you smiling?
Inigo Montoya: Because I know something you don’t know.
Man in Black: And what is that?
Inigo Montoya: I… am not left-handed.
Man in Black: You are amazing.
Inigo Montoya: I ought to be, after 20 years.
Man in Black: Oh, there’s something I ought to tell you.
Inigo Montoya: Tell me.
Man in Black: I’m not left-handed either.
—Dialogue from the film The Princess Bride, 1987. The fencing masters named are real, but the associated tactics are mere Hollywood, likely intended as homage or just mere color. The duel was choreographed by Bob Anderson. In the novel, this dialogue does not exist. Instead, the masters and tactics are part of the narrative description. Author and screenwriter William Goldman also mentions “McBone,” a likely deliberate alteration of, or error for, Scottish swordsman Donald McBane.
Truly ambidextrous fencers are rare. In more than forty years I’ve met only one, Professor Ted Cotton, although my wife Mary Crouch could likely become one if she so chose, one of the founders of fencing in Huntsville, John Jordan, could also fence left-handed, two of our current members routinely switch hands, and I myself can fence tolerably well with my offhand and have begun to use it regularly. Professor Cotton would wear a back-zip jacket and had a body cord down each arm, and would fence his opponents left or right as he thought best. Italian epee great Edoardo Mangiarotti, a right-hander, was taught to fence left-handed by his father in order to give him a competitive advantage, but it is said that he could fence just as well right-handed.
Copyright Benerson Little, 1977-2018. First posted December 19, 2018. Last updated January 27, 2018.
The fencing salle, or school or club, if you will, is a hall of mirrors to the soul, and if not to the soul, then at least to fundamental character. It is a magical place whose special sights and insights are enriched by a special language accented with the unmistakable sounds of blade on blade.
Perhaps Rafael Sabatini put it best in Scaramouche (1921):
“From a room beyond, the door of which was closed, came the stamping of feet, the click and slither of steel upon steel, and dominating these sounds a vibrant, sonorous voice speaking a language that was certainly French; but such French as is never heard outside a fencing-school. ‘Coulez! Mais, coulez donc!…So! Now the flanconnade—en carte…And here is the riposte…Let us begin again. Come! The ward of tierce…Make the coupé, and then the quinte par dessus les armes…O, mais allongez! Allongez! Allez au fond!’ the voice cried in expostulation. ‘Come, that was better.” The blades ceased.”
And with the fencing salle come a few rules for honorable deportment, as suitable today as they were in the past. And, as the lessons of fencing are apt for the world beyond, so too are the core of its courtesies and other appropriate behaviors.
Many have been recently eroded, at least to a greater degree than in the past, among modern or “Olympic” fencers, largely due to the Federation Internationale d’Escrime’s rather abject submission to the International Olympic Committee’s desire to have Olympic sports present [melo]dramatic “spectacles” designed solely to increase viewership and therefore income from advertising. National fencing bodies typically willing to go along with almost anything as long as it means that fencing will remain an Olympic sport, no matter in what form, play a significant role as well.
Even so, all styles of swordplay are seeing rules of fencing etiquette debased by the competing egos of many fencing masters, teachers, coaches, and fencers themselves, in addition to the general degeneration of civility, including the practices of honor and humility, these days.
N.B. I am by definition a “modern” fencer, although I also practice classical and historical fencing. Any criticisms therefore are not those of an outsider attempting to disparage modern fencing or other forms of swordplay.
Here therefore are a few rules and guidelines of recommended behavior in the salle, from recent years to past centuries, with some of my own thrown in near the end of the post. I am intentionally avoiding excessively in-depth commentary on the behavior of many fencers today, for it would probably quickly turn into a near-rant. Thankfully, the majority of fencers today, in all forms of legitimate swordplay, still behave with excellent deportment on the strip–but it doesn’t take too many bad apples to spoil the reputation of a sport or other organized skill.
I’ll make two important points up front. First, the best way to teach good behavior in the fencing salle, and everywhere, is by example. Younger fencers are far more likely to behave with courtesy and dignity if they have the good examples and associated expectations of their fencing teachers, veteran fencers, and experienced peers. It starts at the top. Unfortunately, some of the most egregious violations are often found here.
Second, I don’t want this to turn into an “Olympic” or sport fencers versus classical and historical fencers. I’m ecumenical when it comes to fencing. I’ve practiced many forms of swordplay over the past forty or so years, and I’ve seen plenty of poor behavior in the form of various violations of the following rules and guidelines among members of all three groups, and among others as well. But to repeat, most fencers, no matter their preferred form of swordplay, still manage to behave well on the strip.
Muriel Witte in American Fencing magazine, 1966
Regarding number 6, some fencers past fencers would ask for or accept odds, and some today do so as well, either by having the weaker fencer’s touches count for more, or by setting a goal the weaker fencer much reach in a five, ten, or fifteen touch bout. For example, the weaker fencer wins if he gets to five touches before the stronger gets to ten. This was never a practice in the salles where I learned to fence, and I have never engaged in it. The odds are rarely well-balanced, usually favoring one or the other of the fencers.
A better practice is to avoid setting odds or a handicap, and instead set a goal of touches against your opponent, averaging them over time and working to score above this level if you’re the weaker fencer, or to improve the distance if you’re the stronger (and if you’re significantly stronger, just fence and don’t worry about the distance between scores). Too often the more experienced fencer suggests odds that will push him or her, but such odds often don’t push the weaker fencer enough. For example, a balance of 15 to 5 strong to weak may be good for the stronger fencer, but a better balance might be 15 to 8 in order to push the weaker fencer more. Further, the setting of odds by the stronger fencer can often come across as patronizing, even arrogant, at times.
Number 7 dates to the days of gyms which made much use of natural light through high windows, and which some poor sports among fencers would take the side of the strip with better light (although in bouts for touches with dry weapons, fencers swapped sides after one fencer scored three touches or half the time expired). In fact, an old dueling tactic was to place your adversary on disadvantageous ground, for example with the sun or wind in his (or at times her) face. Dueling practice in the late 19th and 20th centuries tried to minimize any advantage one adversary might have over the other by way of terrain or weather.
Outdoor fencing is not done often enough these days, although some of us still enjoy it. Unfortunately, it’s no longer permitted as a format for earning ratings in epee by the USFA. (Or as it’s now called, USA Fencing, and prior to that US Fencing. It’s hard to keep up with the name changes. In fact, it was the AFLA–the Amateur Fencers League of America when I started fencing more than forty years ago.) And with the addition of relatively new ratings (D’s and E’s) plus a direct elimination format that vastly increases the likelihood of earning a rating as compared to the old pool system (which unfortunately produced a large percentage of under-rated fencers), we find a flood of rated fencers these days. As such, modern fencing has unfortunately become for many fencers “all about the rating,” with the result that there are far fewer “fun” tournaments than in the past. Nonetheless, there’s no reason not to hold outdoor epee tournaments on occasion, ideally set in picturesque or historic venues. I have fond memories of an outdoor epee event held on the grounds of a Florida beach hotel, for example.
“Decalogo Dello Schermidore” by Aldo Cerchiari and Edoardo Mangiarotti
From their book La Vera Scherma (Milan: Longanesi & Co, 1966). The commandments are also posted on the website of the famous Milanese Mangiarotti Fencing School. Edoardo Mangiarotti was easily one of the few truly great epeeists of the past century. All fencers should strictly abide by these precepts of fencing honor and fair play:
1. Remember that you are the representative of the noblest of all sports. It unites fencers from around the world in the same ideal.
2. Practice your sport unselfishly and with absolute loyalty.
3. Be a gentleman or lady on the strip and off, from sport to social events.
4. Do not discuss fencing if you have not learned fencing and its rules.
5. Learn how to lose with dignity and win with honor.
6. Respect your opponent at all times, whoever he or she is, but try to overcome him or her in combat with all of your energy.
7. Remember that until the last thrust your opponent has not yet won.
8. Serenely accept a defeat rather than take advantage of a victory obtained by deception.
9. Do not step onto the fencing strip with defective weapons or with the white uniform in disarray.
10. Honor, respect and defend your name, the prestige of your master, the colors of your club, the flag of your country.
“No boast, threat, trick, or stratagem, which may wound the feelings, or lessen the equality of the combatants, should ever enter into the contemplation of a gentleman.”
—Joseph Hamilton, The Approved Guide Through All the Stages of a Quarrel, 1829
“Never lose on purpose, you must always fence to win for your honor!”
—Lajos Csiszar, quoted by student Roger Jones, former member of the US 1955 and 1957 epee teams, alternate to the 1956 US Olympic epee team, in an article dating to 2000, and in later conversation with me. The quote itself dates to the 1950s, and probably earlier. Csiszar was one of Italo Santelli’s three protégés (assistant fencing masters).
Roger himself best describes how Csiszar came to tell him this:
“The first time I fenced in Europe, I learned that cheating was part of the sport, unlike in the U.S. It was common for countrymen to throw bouts to the favorite during the early rounds, in order to improve his seeding for subsequent rounds. Csiszar hated this, as did I. He told me, “Never lose on purpose, you must always fence to win for your honor!” In the 1957 World Championships, an Austrian approached me just before our bout, which was the last one in the round. He pointed out that I would be eliminated even if I won, but that if he won, he would go on into the next round. He asked me to lose, saying “You speak German, therefore, we must stick together.” I refused, and then defeated him 5-2. Afterwards, I told Maestro about the incident, and he hugged me, saying “I knew you would always fight for your honor.” He made me feel so proud.”
—Roger Jones, “Fencing Generations,” manuscript, November 2000. Roger was an outstanding swordsman, business executive, writer, former naval officer, and gentleman who deplored the notion of gamesmanship and cheating in fencing. He passed away a few years ago.
“Your complete swordsman must be one who can place his hits with a gallant good grace, but one also who will not allow a clumsy opponent to prevail himself on any hap-hazard thrust.”
—Egerton Castle, “Swordsmanship Considered Historically and as a Sport,” 1903
“Gallant good grace” is too often forgotten today.
“Don’t flatter yourself in your Lessons, and still less in Assaults.”
“Be not angry at receiving a Thrust, but take care to avoid it.”
“Be not vain at the Thrusts you give, nor shew Contempt when you receive them.”
—Jean de Labat, L’Art en Fait d’Armes, 1692, as translate by Andrew Mahon, 1730
Labat has lots of good advice still relevant today.
“‘I have never,’ says M. [Ernest] Legouvé, ‘met a single fencer who would not–say once a year–deny that he had been touched when the hit was palpable. It is so easy to say ‘I did not feel it,’ and a hit not recognised does not count.'”
—H. Sutherland Edwards, “Fencing Schools,” Old & New Paris, vol. 2, 1894.
To summarize the quote above: You should always declare all touches against you when are fencing ‘dry’ in the salle!
That said, some masters will suggest that in the case of a competitive bout you leave it to the director and jury. I in turn leave this to your discretion and sense of honor. Personally, I would declare an obviously good touch unremarked by the judges.
Of course, not all touches are always obvious to giver or receiver, and allowance must be made for the possibility that the adversary did not feel a particular touch. In epee it is common for many of us to let our practice partner know that he or she hit, but that the touch was either late or flat.
There remains a vestige of the practice of declaring touches, or not declaring them, today in modern electrical epee fencing. In competitions on non-electric strips, I believe a fencer should declare a solid obvious touch on his foot in the case where the referee or floor judges have no opinion or state that no such touch was made. If, however, the fencer is unsure whether the touch was valid—when it might be just a scrape along the floor, a light touch, and so on—he or she should not declare it and leave the determination to the referee (who may overrule the floor judges). Even so, many coaches direct their fencers to never admit to a foot touch, or to any possible error that may favor the adversary, often justifying this on the premise that “It all evens out in the end.” I will always inform my adversary if, for example, I think his or her weapon is not working, and so forth. No victory in art or sport is worth anything if it is obtained through active or passive chicanery.
It is also a too-common practice, this not declaring of touches on occasion, among some classical and historical fencers today, and would be among modern fencers as well were it not for the electrical scoring apparatus. Certainly it was in the past when both saber practice and competitions were dry, and foil practice was typically conducted dry in order to suppress the “pig sticking” tendency induced by the electrical scoring apparatus. Over the past forty-one years I’ve met a number of fencers who were notorious for not declaring valid hits, over and above the possibility that they simply didn’t feel them. Of course, in saber there was a remedy: slowly escalate your hits, making them harder and harder until your adversary has choice but to declare them, if only by rubbing his arm… This was, and is, also the solution to saber fencers who consistently hit too hard.
And More Variety
“It is a polite custom to salute your opponent with your blade before the bout, and to offer him your hand at the end.”
“Once the fencer has taken the guard position, he must be considerate of his opponent. Neither fencer must talk during the bout. Fencing requires the greatest possible attention, and this may not be diverted in any way or for any reason except by fencing tactics.”
“In fencing against an opponent who acknowledges your superiority, sportsmanship demands that you do not make the most of your advantages; rather should you assist his swordplay as much as possible, and avoid placing him in a painful or ridiculous position by over-emphasizing your superiority.”
—Luigi Barbasetti, The Art of the Foil, 1932
Regarding Barbasetti’s third statement, it’s unfortunately far less common today to see fencers practicing this: many are unwilling, often solely for the sake of ego, to forgo even a few touches in the name of good sportsmanship. Another practice less often seen today is that of subtly “throwing” your opponent a touch to make up for a touch awarded against him or her due to a bad call by the director (known today as the “referee” in a bid to make fencing more “audience friendly”—I kid you not). Technically an illegal practice, its honorable intentions more than compensate for the breaking of the rule that the fencer must always fence to win.
Barbasetti’s first statement is now written into the rules due to the unsportsmanlike behavior in the past of a few fencers. See also Félix Gravé below.
“No Scholar nor Spectator without a licence from the Master, should offer to direct or give advice to any of the Scholars, who are either taking a Lesson or Assaulting… First, because without permission they take upon them to play the Master; And secondly, because they reprove oft-times their Commerads for the same very fault they themselves are most guilty of, although perhaps not sensible of, which when By-standers perceive, they smile at them (and with just reason) as being both ignorant and impertinent; therefore it would be a great deal more commendable in them, to be more careful in rectifying their own faults, and less strict in censuring others.”
—Sir William Hope, The Fencing Master’s Advice to His Scholar, 1692
More proof that not much has changed over the centuries.
“Though there are People of bad Taste in every Art or Science, there are more in that of Fencing than in others…”
—Jean de Labat, L’Art en Fait d’Armes, 1692, as translated by Andrew Mahon, 1730.
This is a sentiment I’ve heard more than once from much-experienced fencers over the last four or so decades, often expressed more narrowly: “There are more charlatans among fencing teachers than among any other sort of teachers.” Again, it’s more proof that not much has changed. The answer is simple: be of good taste, of good behavior, and of good knowledge, and let your behavior in the salle demonstrate this, whether you’re teaching or fencing. Or whatever, whenever.
“Don’t show any sign of bad temper if you are the loser.”
“Don’t get conceited, or be haughty, if you are the winner.”
“Don’t forget always to be modest and courteous.”
“If your adversary should prove far superior to you, do not show discontent or bad temper; do not be disheartened, keep up your style and do your best, no matter how badly you may be beaten. Take your defeat in the right spirit, it will help to improve you; take it as a lesson you needed. Remain always the “correct gentleman.”
“The use of the unarmed hand to parry an attack would be an incorrect movement; the use of the unarmed hand to make signs or attract the adversary’s attention would also be incorrect, whilst talking or conversing during the fight would be unruly.”
“[R]efuting a decision or arguing about the verdict of the judges would be considered bad form and ill-mannered.”
“Not shaking hands with an adversary after a match or a rencontre is a great lack of courtesy, and should be reprimanded. Saluting an adversary previously to the beginning of a bout should be done before placing the mask on the head.”
—Félix Gravé, Fencing Comprehensive, 1934
You may, of course, politely challenge the referee on the misapplication of a rule or the failure to apply a rule. Both occur far more often than they should, by the way, perhaps due in part to the modern “guild of referees” that values simple examination (and testing fees!) over experience in the practice and spirit of swordplay (and hasn’t improved refereeing at all). So know the rules, follow them, and be prepared to see them properly applied.
Even so, the best solution to bad refereeing/directing/judging is often the classic one: become good enough that the referee’s incompetence, bias, or, rarely, cheating, is irrelevant. In foil the old electrical scoring solution, and still a valid one today in foil and now saber too, was to make single-light touches, stripping the referee of the act of determining right-of-way.
As for shaking hands and saluting, the requirement has been written into the FIE and USFA rules due to repeated violations by a small number of fencers.
A Few of My Own
These aren’t quite as eloquent or pithy as those above, but to quote Horace from his Ars Poetica in my defense, when I’m brief I’m often misunderstood.
1. My more modern take on Sir William Hope above: Do not give unsolicited fencing advice unless you’re an instructor giving it to one of your students, in which case it is by definition solicited. The principal exception is that of an experienced fencer politely suggesting a correction to an egregious error committed by a beginner. The fact that fencers often appear to accept such advice can be deceiving: it may simply be politeness or mere uncertainly as to whether the novice should tell the advanced fencer to please just be quiet and fence.
2. Given that many beginners are avidly seeking fencing knowledge, and can thus be easily misled, it is incumbent upon fencers giving advice to ensure that such advice is not only solicited and correct, but useful and appropriate to the recipient. Provide only what you know for certain from experience, never what you think you know. Importantly, make sure your advice is suitable the fencer you’re giving it to. Too often, fencers assume that what is good for them is good everyone. Further, many fencers have not yet reached the level at which all good advice may be of use. In other words, don’t provide advice that’s over the fencer’s head or inaccessible due to the level of technique required. And if you’re giving advice to show off: Don’t! In sum, don’t be a know-it-all. (See also Cerchiari & Mangiarotti #4 above).
3. For a stronger fencer to constantly shout “I missed!” when fencing a weaker fencer, or any fencer for that matter, is not only rude and patronizing, but ignores the fact that his or her adversary is probably missing often too.
At the very least it can be an annoying distraction.
“I missed!” is often shouted by some advanced fencers when hit by weaker fencers, as if to excuse the touch as an accident. In fact, advanced fencers often rely on the fact that weaker fencers often do miss–thus making an advanced fencer who shouts “I missed!” a double hypocrite.
Is it OK to occasionally shout “I missed!” when in spite of setting almost everything up perfectly you miss, perhaps because your point control was sloppy? Sure, but don’t overdo it. Is it OK do do so when fencing a friend who understands your frustration? Of course. But it’s never OK to do so in order to [arrogantly] dismiss a weaker’s fencer’s touch.
The fact is, if you get hit, you did something wrong and the other fencer something right.
More simply and more broadly: keep quiet when fencing so your adversary can concentrate.
4. Related to number 3: Don’t be the fencer who is insufferable both in victory and defeat. Or in either. Or ever.
5. Avoid “showboating” and “grandstanding.” A particularly egregious example is that of a more experienced fencer moving close and opening the line widely, as if to say, “I’m wide open and even then you probably can’t hit me!” It’s an insulting practice, one that indicates insecurity on the part of the fencer doing it, and one the experienced fencer would never attempt with another fencer of the same or greater ability. It’s OK to move closer to a weaker fencer and open the line a bit more in order to work on developing one’s speed while simultaneously giving the weaker fencer the opportunity to score more in practice. It’s not acceptable to do so in a grandstanding or patronizing manner.
6. If you’re waiting alone on the only empty strip for someone to fence and a pair of fencers comes up to use the strip, you must turn it over to them. Most fencers waiting alone on a strip for someone to fence understand this and will automatically yield the strip to a pair of fencers who need it. Occasionally though, there are strip hogs. Fencers new to the sport are often uncomfortable asking a solitary fencer, waiting for no one in particular, to yield the strip. If you notice this, invite them both onto the strip immediately. And don’t be afraid to ask, even politely demand, a strip hog to yield the strip!
7. For coaches and parents, and especially, fencers: No cheating!
In particular, neither give nor, for fencers on strip, accept advice during a competition bout except during the one minute breaks in direct elimination. Strictly speaking, these breaks are the only time coaching or other tactical assistance is permitted during a bout. All other tactical aid during a bout is in fact cheating, including hand signs, “secret language,” and so on, not mention overt coaching. Don’t tolerate it! If you do, you have a personality flaw, plain and simple.
N. B. Before I continue, I must note that the USFA, or as it now terms itself, “USA Fencing” (marketing, marketing), permits coaching from the side of the strip by coaches or spectators as long as it doesn’t interfere with the bout. This is a US rule: try it in many places internationally and you’ll still get in trouble, as you should. Of course, the USFA now complains that such coaching is getting out of hand (surprise, surprise) and is now at work on a coaches code of conduct. In other words, the USFA is complaining about a problem it created, but won’t take up the appropriate solution, that of eliminating strip-coaching (and won’t admit it caused the problem, either).
So, to continue, and operating under the assumption that strip-coaching is and should be illegal…
Over the past two decades I’ve seen a new practice by a certain type of fencer in competition: the “whiplash,” that is, the head snapping around to look at the coach whenever the fencer is unsure about a touch or the progress of the bout, even in epee. Some fencers do this after each touch awarded to their adversaries. Should I challenge the call? Should I change my tactics? Should I do this again?
Sorry, but your coach is not permitted to respond in any way, notwithstanding that some coaches have trained their fencers to seek such advice during a bout. The sad fact is that many competitive fencers today are uncomfortable, some even to the point of near panic, if their coaches are not at the piste during their bouts.
A fair number of fencing coaches will “test the waters” during a competition by coaching during an early bout to see if the referee or bout committee will put a stop to it. If not, they’ll continue. Others will only try this during a challenging bout (that is, one in which one of their students is losing) during the direct elimination.
One of the most egregious violators I’ve seen was a coach who constantly decried the “cheating” by other coaches and clubs, including the giving of advice from the side of the strip during a bout, yet he was one of the most active practitioners I’ve ever seen, both as a coach on the sidelines and as a referee, although he “wisely”—if a cheater can be said to be acting wisely—limited it to critical bouts if experienced fencers and referees were present. However, he engaged in it nearly always if only inexperienced or easily intimidated fencers and referees were present—at least until someone showed up who would call him out on it.
And, on a related issue: No, the modern era of gamesmanship and cheating in fencing was not started by the Soviet Union’s entry into competitive fencing, some commentators notwithstanding, nor did this begin the general debasement in deportment on the strip. I’ll save this conversation for another day, but will note two things now: (1) there are plenty of early examples of these bad behaviors long prior to the Soviet Union entering sport fencing, and (2) it was notable how quickly nations other than France and Italy began regularly winning medals in epee and foil after the introduction of the electrical scoring apparatus–French and Italian judges could no longer pretend not to see touches.
In sum, if your child’s coach or teacher engages in any of these behaviors, tell him or her it’s unacceptable and that you’ll remove your child from the club if it continues. Many, perhaps most fencing coaches these days unfortunately follow a business model, which inevitably requires an emphasis on youth fencing: they’ll change their attitudes if a significant number of parents quit writing checks.
I’m a bit cynical about progress in this area, though, having watched for decades how often many parents, living a vicarious second lives via their children, will accept or turn a blind eye to all sorts of egregious, even outrageous, behavior from coaches and teachers in sports and performing arts on the remote chance that their child will win nothing more than a local title or become a briefly notable local performer. And when greater rewards are at stake, far too many parents will turn a blind eye to almost anything.
Put plainly, a fencing bout should be a contest between two fencers and no one else.
Fencing’s best lesson is independent decision-making under stress.
Fencing & Wine
Or, how fencing shows character and why this matters. Again I quote from H. Sutherland Edwards (1894) who is quoting dramatic author, not mention fencer and promoter of women’s rights and child education (and whose name was given to a perhaps phantasmagoric reef in the South Sea), Ernest Legouvé:
“Fencing has, moreover, its utilitarian value. It teaches you to judge men. With the foil in hand no dissimulation is possible. After five minutes of foil-play the false varnish of mundane hypocrisy falls and trickles away with the perspiration: instead of the polished man of the world, with yellow gloves and conventional phrases, you have before you the actual man, a calculator or a blunderer, weak or firm, wily or ingenious, sincere or treacherous… One day I derived a great advantage. I was crossing foils with a large broker in brandies, rums, and champagnes. Before the passage of arms he had offered me his services in regard to a supply of liquors, and I had almost accepted… The fencing at an end, I went to the proprietor [of the fencing salle] and said: ‘I shall buy no champagne of that man.’ ‘Why not?’ ‘His wine must be adulterated–he denies every hit.'”
Yes, character matters, then and now. And fencing reveals it better than anything other than the dire life-threatening circumstances of man and nature. A person who cannot be trusted on the strip should not be trusted off the strip.
Copyright Benerson Little 2018. First posted July 20, 2018, updated November 21, 2018.
A brief post on Hungarian Hussar swordplay on horseback, in honor of my Hungarian fencing masters: Dr. Francis Zold (1904 – 2004) and Dr. Eugene Hamori, both part of the extraordinary tradition and fame of the Hungarian fencing epoch of the past century and longer. Theirs was an era in which perhaps no more than three dozen fencers ruled saber fencing for half a century. It was a world in which swordplay and its associated honor were still entwined with world events. It was a time in which dueling was still practiced or had only recently seen its end. Many of these men were familiar with swordplay in both the duel and in sport. To learn fencing from my two masters and to hear the stories they told was like stepping into a novel by Rafael Sabatini or Alexandre Dumas.
Before I begin the discussion of hussar swordplay, here are two abridged biographies, given that this post is in honor of my fencing masters. One day I’ll post full biographies of these two fascinating men.
Dr. Zold, long a minor Hungarian celebrity and well-known fixture in Hungarian fencing, was easily recognized by the green glasses he always wore (Zold means green in Hungarian), as well as by the shout of “Hé, là! Pamela!” when a student did something well during a lesson. He was the 1948 Hungarian Olympic team captain, reportedly fought a duel (I have this from a very knowledgeable source), and was a student of the famous Italo Santelli. By the great master’s own admission, Dr. Zold was one of his four greatest students: “[Jeno] Fuchs the tactician, [Endres] Kabos the attacker, [Attila] Petschauer the jumper, and [Ferenc] Zold the fighter.” (From “Francis Zold’s Death” by Ko Andras, February 24, 2005.)
Regarding two of the Santelli’s fencers mentioned with Dr. Zold, Petschauer was an Olympian with two gold saber medals and also a high school classmate of Dr. Zold. He was murdered in a Nazi concentration camp at the instigation of a Hungarian officer who was also a former equestrian Olympian. Kabos was an Olympian with four gold saber medals, and was serving as forced labor in Budapest at the time of his death, when Margit (Margaret) Bridge (to Margit-sziget, or Margaret Island) blew up accidentally as the Nazis were rigging it with explosives to destroy in advance of the Soviet army. Dr. Zold had spoken with Kabos just moments before.
Dr. Zold also assisted Raoul Wallenberg in helping Jews escape from Hungary after Nazi Germany annexed the country and began shipping Jews to concentration camps, and was one of the last to see Wallenberg alive outside of Soviet custody. (Wallenberg appears to have been murdered by the Soviet secret police after being held for two years.)
I attended the party in honor of Dr. Zold’s 95th birthday (I was one of three there who did not speak Hungarian), and corresponded with him until his death, long after I had my last lesson from him in 1978. I always enjoyed his stories, as I still do Dr. Hamori’s. From Dr. Zold, for example, I learned how the Hungarian fencers were invited by swashbuckling actor Douglas Fairbanks to his famous home, Pickfair, after Piller won the saber gold in 1932. Fairbanks, an active supporter of the Los Angeles Games, and his entourage came to watch the saber finals.
I studied fencing afterward under Dr. Eugene Hamori in New Orleans. He was a member of the gold medal Olympic saber team in 1956, defecting to the US soon after; the Soviet military had ruthlessly crushed the brief Hungarian uprising that occurred that summer. He studied fencing under Alfred Tusnady-Tschurl, graduate of the famous Austrio-Hungarian fencing academy at Wiener-Neustadt; László Szabó, one of Santelli’s three proteges, author of Fencing and the Master, and a very close friend of Francis Zold; Gyorgi Piller, student of Laszlo Borsodi (one of the creators of modern Hungarian saber technique), 1932 Olympic saber gold medalist, later the Hungarian head coach; Lajos Csiszar, also one of Santelli’s three proteges; and not too long ago he even had some lessons from László Szepesi, famous as the Hungarian master who led France to international saber golds. No matter how good you are at fencing or at teaching fencing, you’re never too old or too experienced to profit from fencing lessons.
An accredited fencing master among his many accomplishments, Dr. Hamori remains a close friend and is my mentor in all issues regarding the teaching of swordplay. Dr. Zold gave me my classical foundation, but it was Dr. Hamori who really put everything together for me, even though even today he gives Dr. Zold the credit. We have corresponded for years and visit whenever we can. My wife Mary and I even attended a Royal Shakespeare Company performance of Hamlet, suitably sub-titled (or super-titled, in that the sub-titles were above rather than below?) in Hungarian on electronic boards, on Margit Island with him a few years ago, and afterward discussed both the difficulty for even a native English speaker to grasp Shakespearean dialogue, and, as expected, the swordplay as well. (We thought the final phrase d’armes was a bit too quick and lacked enough dramatic emphasis, for what it’s worth.)
Both of my fencing masters helped encourage my sense of literacy and broad learning (whose foundations were first encouraged by my parents and, perhaps not surprisingly to those who’ve read them, later by the novels of Rafael Sabatini). Fencing is simply one part of a broad education, not to mention a means of safely engaging in the martial competition natural to humans.
At Hamlet we also ran into outstanding HEMA longsword and modern saber fencer Krisztina Nagy. Not long before, she had escorted us around the famous Semmelweis University high school fencing salle, whose current fencing master is László Szepesi. The salle’s master from 1948 TO 1955 was Dr. László Emlékére Duronelli, the third of Italo Santelli’s proteges.
Perhaps the most important lesson I learned from both fencing masters is that mistakes are OK, that you learn from them, and that, as a fencing teacher, or any teacher, you don’t have to know everything, and more importantly, you must never pretend to. Neither of my fencing masters ever pretended to me that he knew everything about fencing. Dr. Zold often referred to sources, both books and people, who knew more about a given subject in swordplay than he did, in spite of his vast experience. Dr. Hamori, in one of many examples, often demurs on giving me his answer to an epee question. A few years back he would instead consult his close friend, famous fencer and fencing master József Sákovics. Since Sákovics’s passing, he has given me the recommendations of Hungarian head coach Gábor Udvarhelyi.
Too many “experts” today, or so it appears to me, would almost rather die than be seen as not having all the answers, even though it is impossible to have them all in any subject. A fulsome minority of fencing teachers (and similarly of certain personalities with PhDs, I must add) include some of the worst offenders in my experience, at times inventing empty answers and even pretending to experience they don’t have. Often this is the result of the cult of personality–excessive or insecure ego, or both, seeking adulation–far too many “experts” engage in. My own fencing masters entirely avoided this. Frankly, the honest, humble practice of the pointing out the truth wherever it may lie, with the obvious benefits of doing so, is too little seen today–all the more reason I have to thank my own fencing masters, my parents, and others like them for the lessons they’ve imparted to me.
And Now, Hussar Swordplay on Horseback!
Please note that this is just a brief introduction to Hussars and their swordplay as described in a small number of English sources, Andrew Lonergan for the most part (citation below), with a few minor observations of my own. There are some historical fencing organizations, Hungarian in particular, who are working admirably to restore Hussar saber technique both mounted and afoot in detail.
When it comes to recreating historical fencing technique, success, particularly as defined by historical accuracy, varies. In the case of the smallsword, for example, it’s relatively easy to obtain a likely high degree of historical accuracy, given the large number of available texts and its fundamental similarity to “modern classical” foil and epee, both of which are ultimately descended from it. On the other hand, some historical technique is poorly documented, Highland broadsword for example, and requires greater sifting through clues and the use of intelligent practical speculation. (There’s quite a bit of unintelligent practical speculation going on, unfortunately, in historical discussions, including those on the subject of the use of arms.)
So, who were the Hungarian Hussars? They were some of the best irregular light cavalry in the world, known for their flamboyant courage in battle and their use of the saber, a curved sword descended ultimately from the cutting swords of the Mongol invaders. The hussars were extreme swashbucklers, in other words. (My own Little ancestors were Border reivers from the Scottish West March, another famous group of light cavalry, not to mention cattle thieves.)
To give you a better idea of who the hussars were, I’ll quote from The Sea Rover’s Practice, itself quoting from the journal of naval officer Pattee Byng: “Sicilian partisans in 1719 sniped at German and Hungarian soldiers, and Hungarian Hussars ‘with their usual custom and dexterity, struck off their heads with their sabers.'” (Pattee Byng’s Journal, edited by J. L. Cranmer-Byng. Greenwich: Navy Records Society, 1950. Italics mine.)
The illustration above is sufficient corroboration.
In 1693 a regiment of Hungarian hussars was incorporated into the French army, although Hungarian cavalry had served Louis XIV prior to this. In the eighteenth century there were French-manned units modeled on them in place, and also other natively-manned units in other European armies as well. Hungarian hussars were in service past World War One.
According to a seventeenth century English dictionary, the word hussar was said to derive from the Hungarian light horsemen’s battle cry of “Husa!” However, both Dr. Hamori and a now former honorary Hungarian consul in New Orleans told me that this is not what they were taught in school in Hungary. Further, some modern etymologies, Merriam-Webster for example, suggest the word has its origins in the Serbian and Croatian word for pirate. The Hungarian word is huszár. (For a period definition and etymology, see New World of English Words, 2nd ed., edited by E. Phillips [London: E. Tyler for Nath. Brooke, 1662], s.v. “Husares.”)
Andrew Lonnergan’s practical book on swordplay, short-titled The Fencer’s Guide (London: for the Author, 1771) is one of those rare fencing texts discussion practical swordplay beyond the salle and the duel: for the battlefield, in other words.
Section VIII of his book, “Is a Lesson for and against a Party of Hussars, or Light Horse.”
He refers to Hussars as “scampering troops, who like not to attack in a body, nor to attack a body [a troop, company, or other ‘body’ of horse].”
Importantly regarding technique, he notes that they “may annoy you, in wheeling together, either by fire or sword, though even if ou were a grand division, wheeling upon its center; for they endeavour to attack all other troops behind, or sideways, as they run by them, with a Sawing-cut, and then turn to the rest of them again, that they may repeat this cut with their swords so arched, that when but an inch of the edge, near the point, catches a man’s neck, the middle, or belly of the blade, will sever a joint, and often leave the head hanging by a sinew, or a piece of skin.”
The ‘sawing-cut’ is a cut pushed or carried forward, as opposed to the more common ‘drawing-cut’ pulled or drawn backwards toward the swordsman’s body. The strong curve of the Hussar saber makes thrusting with the point difficult (it must be hooked). But as described by Lonnergan, the thrust is effective because it is made with the first inch or so with the edge which cuts through soft tissue. This is probably best effected on horseback at speed. I have tested this cut afoot via simple extension as well as via a powerful lunge, and found that it does not appear to be as effective as Lonnergan describes. (I used a Cold Steel scimitar on a variety of test subject materials, ranging from a large beef brisket to bound straw to large banana trees being cut back for the winter.) However, the kinetic energy of a rider attacking at the hand-gallop would almost certainly make the sawing cut as effective as Lonnergan describes, cutting through clothing and flesh.
This is different from what Hollywood and swashbuckling novels have accustomed us to see: that is, large sweeping head- and limb-lopping cuts. A sawing cut, if less flashy, was probably more effective and, importantly, more difficult to recognize and defeat.
Regarding defense in Hussar swordplay, Lonnergan writes that, “If you strike at them as you meet them, they will avoid your blow, by stooping forward, leaning backward, or even by throwing themselves to the opposite sides of their horses, and will recover their saddles again.” Mounted esquive!
Lonnergan recommends cutting at Hussar sword arms because “it is naturally in a St. George [modern saber quinte, more or less]to save their heads.
To thrust at a Hussar, he recommends “a Segonde [seconde] darted forwarsds, for so the height of your horses, superior to theirs, will have it, and afford you greater power over them in a close attack, which they must avoid as much as possible.”
When fencing on horseback Hussar-to-Hussar, Lonnergan notes that “their best method is to parry any cut made at them with a Quarte, Tierce, or Prime, and repost with a Sawing-Cut, and thrust, and recover with a Drawing-cut.”
Most notably, he writes that the “bent [curve] of their swords will afford them an unavoidable Quarte-over-the-arm, or a Cavè [sic: the accent grave is used incorrectly on cavé in the original text].”
In other words, the Hussar saber with its curved blade has a natural cavé or angulation against quart, tierce, or prime parries (or any other parries, in fact). I’ve heard some historical fencers note that this is an advantage the curved saber has, but I must note here that Lonnergan is referring to actions on horseback with horses moving at speed! The rider, executing the natural angulation with the saber, can escape the riposte as he rides by, while simultaneously cutting or thrusting with cavé (the thrust described is actually a cut). This is not the case afoot: fencer A attacks with an inside cut, fencer B parries quarte and ripostes covered, fencer A makes a cavé around the quarte riposte–and receives his adversary’s riposte cut, having failed to protect himself against it. In other words, use this cavé afoot at your own peril. Fencing, after all, is supposed to be about hitting and not getting hit.
A cut not mentioned by Lonergan, and in fact one in which I’ve only ever seen in Hollywood films, is the low sweeping cut forward on horseback. Often in movies you see knights and so forth lopping off heads this way. However, we probably don’t see it in fencing texts or descriptions of mounted combat for a reason: it would be easily parried by an enemy on foot if were armed with sword, pike, halberd, or musket, and the parry might even dismount the attacking rider.
It would be similarly dangerous against a mounted adversary, leaving the attacker exposed in the high lines unless protected by head and body armor of some sort. Further, the cut might easily be stopped by the enemy’s mount, again with the possibility of disarmament. Hollywood typically does things for show, for drama, not necessarily for historical authenticity.
The closest I’ve seen in reality to this Hollywood low cut is a low thrust made with a straight sword (broad or back) against a mounted adversary, the hand held at the level of the rider’s hip and the point aimed at the enemy’s lower abdomen. The mounted attacker typically has breast and back, and probably a skull cap under his hat, and the thrust is intended for the lower abdomen just under the enemy’s armor.
Lonnergan’s advice for light horsemen being pursued by larger numbers of horsemen is swashbuckling at its best: “Otherwise you may, like the Prussian or Hungarian Hussars, fire under your arm backward, or over our shoulder, and kill at random when flying and closely pursued.”
Firing pistols over one’s shoulder or under one’s arm while fleeing at the gallop? Swashbucking indeed! And it’s clearly a technique clearly used long before the Hollywood cowboys I grew up watching did so on television and in film, inspired perhaps by a famous Frederic Remington painting.
Although this has been an incomplete description of Hussar swordplay, hopefully it has dashed a few Hollywood myths, and also demonstrated that the study of swordplay–inevitably lifelong if you really intend to grasp it–is as fascinating as any other subject, if not more so.
Coming soon: knife-fighting Dutch seamen, the fusil boucanier, rules of fencing etiquette (or at least what they should be), model ships and towns from Hollywood swashbucklers, a technical post on the arm extension in the fencing lunge past and present, and more. And eventually: the duel on the shore!
Copyright Benerson Little 2018. First published April 13, 2018. Last updated May 8, 2018.
A quick post on women and epee fencing, inspired by the photograph of Frances Drake above. She was a Hollywood actress (or actor, if you prefer more modern usage) from the 1930s. The photograph dates to 1934, although I’ve been unable so far to identify the film for which this and similar publicity stills were made. I’d like to, for the the photograph is unusual in that it shows her with epees, not foils.
Until the 1980s, women were not permitted to fence epee in competition due to a patronizing chauvinism (I suppose all chauvinism is patronizing, though) that decreed that women were (1) too weak to fence epee, or saber for that matter, and (2) shouldn’t be fencing epee or saber which were originally dueling arms, therefore “man’s weapons.”
The attitude persisted well into the 1980s and even beyond with some male fencers and fencing masters. Around 1980 I had some lessons from a famous epee master, and as I walked on the strip epee-in-hand for his first epee lesson of the day, and my first with him ever, he smiled and said, “Ah, finally a man’s weapon!” In part he meant it as a compliment in that I was fencing epee, not foil, and therefore as a bit of a dig at foil as well. Still, the comment is instructive and indicative of the attitude at the time. In his defense, most fencing masters would not teach epee or saber to women at the time, even if they believed them suitable to the weapons, for there were no competitions in them available to women, certainly not at the national level.
Of course, more than three decades of women fencing epee and saber have disproved any such absurd notions that women can’t manage these weapons. Just fence my wife sometime if you don’t believe me.
Recently, I obtained a copy of Fencing Comprehensive by Félix Gravé, published in 1934. In it he makes reference to women epee fencers, in particular to how they should dress when fencing epee, clearly indicating that some women did indeed fence epee in the 1930s, and not just Ms. Drake in a Hollywood photo shoot. The fact that there were women epeeists in the 1930s pleases me inordinately.
As for the epees Ms. Drake is holding, they’re probably Castello epees. The guards appear to be aluminum with steel reinforcements. In the 1930s, epee guards were usually made either of rolled steel or of aluminum, with either flat steel reinforcements, as with hers, or angled washers made of either steel or aluminum, as in the image above. The pommels are two-piece, of aluminum and brass, again as in the same image.
Drake’s fencing jacket is quilted, a type difficult to find anymore although once common. The last I saw for sale from major vendors was in the early 1990s. The glove is decorated and might not actually be a fencing glove–epee gloves at this time had leather palms and fingers with “sailcloth” backs and cuffs.
As for women epeeists today, of the five epeeists I consider to have been the greatest in the past century, two of them are women: Timea Nagy of Hungary and Laura Flessel-Colovic of France. Frankly, I prefer women’s epee, for it balances technique with tactics, with speed and strength in support. Too many male epeeists try to reverse this, putting technique and tactics as subordinate to speed and strength. Usually they would fence better if they’d follow the practice of most women epeeists.
In sum: long live women epeeists!
Copyright Benerson Little, 2018. First published February 16, 2018. Updated July 3, 2018.
Jack Sparrow, Perhaps? The Origin of an Early “Hollywood” Pirate, Plus the Authentic Image of a Real Buccaneer
The illustration above was created in late 1926 or early 1927, and published in April of the latter year. Among its several pirate clichés (skull and bones on the hat, tattoos, curved dagger, long threatening mustache) is one I had thought was entirely modern: a pirate hair braid with coins attached.
Quite possibly, this coin braid is the artist’s idea of a pirate “love lock.” The love lock was popular among some young English and French gentlemen in the first half of the seventeenth century. Usually worn on the left side, it was typically tied with a ribbon, a “silken twist” as one author called it. Occasionally two were worn, one on each side as in the image below.
This “pirate love lock” is a noteworthy characteristic of the very Hollywood, very fantasy pirate Captain Jack Sparrow, and I wonder if this image did not inspire much of his look. Historically-speaking, though, there is no historical basis for it among pirates of the “Golden Age” (circa 1655 to 1725), although it’s possible there may have been a gentleman rover or two who wore one during the first half of the seventeenth century–but not a braid or lock with coins.
Of course, much of The Mentor pirate image above was clearly inspired by famous illustrator and author Howard Pyle, as shown below.
There’s a hint of N. C. Wyeth too, not surprising given that he was a student of Howard Pyle. However, Captain Peter Blood was a gentleman pirate, and the pirate on The Mentor cover is clearly not.
And Wyeth’s Captain Blood cover is clearly influenced by this 1921 cover he painted for Life magazine. In fact, less the goatee, the two buccaneers might be one and the same:
The Pyle influence continued through the twentieth century in film, illustration, and mass market paperbacks about pirates…
The Mentor illustration is also clearly influenced by Douglas Fairbanks’s 1926 film The Black Pirate, which was, according to Fairbanks himself, heavily influenced by Howard Pyle’s Book of Pirates and to a fair degree by Peter Pan.
Seriously, check out Fairbanks’s costume in the film, it’s obviously that of Peter Pan grown up. I have a soft spot for Douglas Fairbanks: my first fencing master, Dr. Francis Zold, described him as a gentleman and a swordsman, and described how Fairbanks invited the Hungarian fencers to his mansion Picfair (named after Fairbanks and his wife, Mary Pickford) after György Jekelfalussy-Piller won the gold saber medal at the 1932 Los Angeles Olympic Games.
And here, finally, we have Johnny Depp as Jack Sparrow in the flesh, braids and such dangling from his hair, again for which there is no historical precedent among Golden Age pirates that we know of. It’s hard to see how Depp’s costume, in particular his hair, might not have been influenced by the illustration at the top of the page. If it weren’t, it’s quite a coincidence.
As noted, it’s entirely possible that the Pirates of the Caribbean: The Curse of the Black Pearl costume designers never saw the image at the top of the page. They may have imagined it themselves, or been influenced by something else. A very likely possibility is Donald O’Connor in the 1951 film Double Crossbones, a campy pirate comedy that makes fun of nearly all pirate clichés.
Although this may seem to be little more than coincidence, there are other similarities between the two films, strongly suggesting the writers and costume designers were familiar with it. In particular, O’Connor plays a shy, somewhat bumbling shopkeeper’s apprentice in love with the governor’s beautiful ward, and she with him. Due to difference in social class he’s unwilling to express his love openly until by accident he becomes a pirate. Sound familiar? Even the costumes of the governor’s ward (Lady Sylvia Copeland, played by Helena Carter) are similar (homage-fashion?) to those of Elizabeth Swann, played by Keira Knightley. If not the Pirates of the Caribbean costume designer, then perhaps the Double Crossbones costume designer was familiar with the image at the top of the page.
Of course, all this so far is “Hollywood,” for lack of a better term. There are a number of serious groups of reenactors, scholars, and others trying to correct the false historical image, all with varying degrees of accuracy, agreement and disagreement, and success.
Hollywood has yet to get aboard, no matter whether in pirate films and television series, or often any film or television set prior to the nineteenth century for that matter, probably because it’s easier to play to audience expectations (and, unfortunately, much of the audience doesn’t really care), not to mention that there’s a tendency or even a fad among costume designers to do something that “evokes” the image or era rather than depict it accurately, not to mention the time and other expense of researching, designing, and creating costumes from scratch when there are costumes “close enough,” so to speak, already in film wardrobes.
Here’s a hint, Hollywood: you can start by getting rid of the “pirate boots.” They didn’t exist. They’re actually based on riding boots, and a pirate would only be in riding boots if he were on a horse–and horses aren’t often ridden aboard ship. Further, you can get rid of the baldrics in most cases, exceptions being primarily for gentlemen pirates wearing smallswords into the 1680s, no later. (You can have some Spanish pirates with rapiers wear baldrics after this, though.) And for that matter, you can get rid of wide belts and large belt buckles too. But if nothing else, please, please get rid of the boots, which, if I recall correctly, a UK journalist once correctly described as nothing more than fetish-wear.
Full disclosure: I was the historical consultant to Black Sails, a great show with a great cast and crew, but I had nothing to do with the costuming, much of which is considered as near-blasphemy by advocates of historical accuracy in material culture in television and film. That said, the show is a fictional prequel to a work of fiction that variously created or expanded some of our biggest myths about pirates–buried treasure, the black spot, and so on. Looked at this way, if you can accept the story you can probably tolerate the costuming.
I’ve discussed what real pirates and buccaneers looked like several times, not without some occasional minor quibbling by other authorities. The Golden Age of Piracy has some details, as do two or three of my other books, but several of my blog posts also discuss some of the more egregious clichés, with more posts on the subject to come.
At any rate, here’s an image of a real buccaneer, a French flibustier in fact, from the 1680s. It’s an eyewitness image, one of only a handful of authentic eyewitness images of “Golden Age” sea rovers. It and the others prove that an image may evoke swashbuckling pirates while still being entirely accurate.
Copyright Benerson Little 2018. First published January 23, 2018. Last updated April 4, 2018.
Just for fun: Samurai underwater combat! Imagined underwater fighting, both via surface supplied air (“deep sea diving”) and free swimming descents, during the very real Battle of Yalu River in 1894. Japanese forces defeated a Chinese fleet in a very close battle during the First Sino-Japanese War. The underwater imagery is, of course, quite imaginary but also quite cool.
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.