Home » Posts tagged 'fencing quotations'
Tag Archives: fencing quotations
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.