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It’s all too easy to imagine a duel on the beach between pirates or, as fiction and film often have it, between pirate captains. A sandy beach, palm trees, spectators often including both pirates and a woman in distress, a tropical sea and sky–a duel is mandatory in the genre if only because the setting demands one.
This blog post is part one of a likely five part series on the classical piratical duel on the beach, a pirate trope too evocative to pass up and one based to some degree in reality too. Only the trope of the tavern sword brawl is as prevalent, but not as romantic.
Up first is a look at the sandy duel in fiction. Part two examines the duel described by Rafael Sabatini in The Black Swan, in particular the origin of the hero’s singular technique. Part three reviews the duel on the beach in film, part four takes a close look at the most famous fictional duel on the beach, that depicted in Captain Blood (1935) starring Errol Flynn and Basil Rathbone, and part five discusses the historical reality of the duel on the beach.
In particular, we’ll look not just at some classic swashbuckling episodes, but also consider how genres and tropes are created, and how misinterpretation often not only leads us astray, but also, at times, to authentic historical discoveries.
It’s entirely likely that I’ll also throw in a blog post each on the inquartata, the flanconnade, and also the intagliata and similar techniques of “lunging off the line,” given their prevalence in swashbuckling fiction and film (not to mention their utility in historical and modern fencing). I’ve already written one for the same reason on The Night Thrust; or, More Politely, the Passata Soto. I’ll likely also write a brief post on Dutch knife fighting for reasons noted just below.
The series is also part of an effort to encourage outdoor fencing, especially at the beach or seaside. (Don’t worry, any light rust is easily removed from blades! In fact, two or three hours in a sea breeze will start to rust carbon steel.) Not too long ago the FIE (the international fencing body) in its infinite [lack of] wisdom did away with outdoor tournaments in epee, at least as sanctioned events, and national bodies followed suit. Given the Covid-19 pandemic, sanctioned outdoor fencing tournaments should seriously be reconsidered, not to mention that they’re also a lot of fun for their own sake. Some of my fondest fencing memories are of outdoor swordplay, both competitive and recreational, and their associated celebrations.
So where to begin? It seems almost too easy. At least half the blame lays with the highly enjoyable illustrator and writer of out-sized piratical myth, misconception, and trope, Howard Pyle, several of whose students–N. C. Wyeth and Frank E. Schoonover in particular–followed closely in his swashbuckling illustrator footsteps.
Although he painted several sword duels, two of them by the seaside, it’s Pyle’s “Which Shall Be Captain?” that may be the significant culprit. In it, two pirate captains struggle against each other with daggers to determine who will command. The notion of dueling for command is false, however, to be discussed in more detail in part five (or if you can’t wait, you can read about it in The Golden Age of Piracy: The Truth Behind Pirate Myths). Put simply, captains and quartermasters were democratically elected. Even lesser officers required the approval of the crew. Dueling was never considered or acted upon as a means to gain command.
Likewise false, or at least uncommon as far as we know, is the use of daggers in duels on the beach. In fact, among buccaneers the musket was usual weapon although some fought with cutlasses. However, there may be a possible exception among Dutch and Flemish seamen, who like many of their adventurous compatriots ashore had a habit of knife fighting, often using their hats in the unarmed hand for parrying. The style of fighting appears to have been more cut than thrust, notwithstanding the Dutch term “snickersnee,” which means to stick or stab and thrust, which Lewis Carroll turned into the snicker-snak of the vorpal sword. (See Buccaneer Cutlasses: What We Know for more information on cutlasses, including a bit on dueling.)
Even so, the only authenticated duel between buccaneer captains was between two Dutchmen–and they used cutlasses. Again, more on this in part five.
A duel on the beach between Dutch pirate captains is likely not what Pyle intended though, unless they were Dutch buccaneer captains of which there were in fact a fair number, more of them in service among French flibustiers than among English buccaneers. Their names are legend: Laurens de Graff, Nicolas Van Horn, Michiel Andrieszoon aka Michel Andresson, Jan Willems aka Yanky, Jacob Evertson, and Jan Erasmus Reyning among many others.
No matter his original intention, Pyle’s scene-setting has been imitated as homage, sometimes even copied, in numerous films as well as in illustrations for swashbuckling tales.
However, Pyle’s painting can only ultimately be said to have inspired the trope to far greater prominence, for a decade earlier, in 1899, Mary Johnston’s To Have and to Hold was published, a romantic novel of ladies, gentlemen, settlers (or invaders), Native Americans, and pirates. Notably, Howard Pyle painted the frontispiece, and, more on this later, Johnston’s works were a significant influence on Rafael Sabatini, author of Captain Blood and many other great romantic, often swashbuckling, novels.
Pyle’s painting of the duel for command, between gentleman hero and the last of three pirate villains he fights one after the other, takes place on what is known today as Fisherman’s Island off Cape Charles, Virginia. All three duels are described not in terms of fencing technique but via the hero’s thoughts and emotions as he fights–and easy way to avoid describing actual swordplay. Side note: the hero’s second adversary is a Spaniard (the best blade in Lima) and the third is the “man in black and silver”–almost as if the duel takes place in The Princess Bride. I won’t add the duel in The Princess Bride to this post, although I’m sorely tempted, as it takes place not on the shore but on the cliffs high above.
The entire composition of Pyle’s painting has been copied by many illustrators and filmmakers, including Douglas Fairbanks in The Black Pirate (1926) and Michael Curtiz in Captain Blood (1935).
As for the action itself, duels in fiction and film require high drama. It helps if the hero and his adversary are equally matched, although often the hero ends up hard-pressed but prevails in the end, often by stratagem. Occasionally we see the hero who is always in control, whose swordplay is so exceptional that the villain comes soon to realize he (villainous duelists are almost always a he, thus the pronoun) is entirely outmatched. Here the drama derives from the villain realizing he’s going to lose and be rewarded as he so richly deserves.
Depicting swordplay in fiction can be difficult, or rather, is actually quite difficult. Explain too much and you lose drama and tempo. Explain too little, and the duel is reduced to vague nonsense, even if dramatic. Using a few modern fencing terms has been the refuge of many novelists–but modern terms lack the flavor, and often the correct historical technique, to adequately depict a historical duel. And even in this case only fencers will actually understand what’s going on. In other words, to understand fencing you must be a fencer (and this is part of the reason, in spite of the FIE’s attempts at dumbing down fencing, why it will never be, and frankly should not be, a great spectator sport). But writers often cheat and describe swordfights only in vague terms or through the protagonist’s mental state.
In related fashion, writers often forget, or far more likely haven’t learned, that fencing on a shoreline causes changes in footwork and agility. Fencing in sand tends to slow the action down a bit, footwork in particular. Lunges are slower because the foot slips even in the best-compacted damp sand. Of course, if the beach is rocky, as in Captain Blood (1935), or covered in various beach and dune plants, this may help prevent the foot from slipping although it may also increase the risk of tripping and falling. Fencing in shallow water can diminish the lunge or even negate it.
Further, sand gets in the shoe, which can affect footwork. Sand is also readily available for villainously throwing in the adversary’s eyes. And, as in the case of all outdoor fencing on uneven ground, there’s always the chance at taking a special form of tempo, that of the brief surprise when the adversary accidentally steps in a hole or runs into a bush or trips over driftwood, or is maneuvered into doing this. Distraction, however brief, can be fatal.
There are partial remedy for these hazards, which I’ll discuss in part five, and, like running in the sand, you’ll at least in part naturally adapt to the best technique over time. (Thanks Bear Mac Mahon for your brief comments and reminders on fencing in the sand. 🙂 )
Sadly, seldom does any of this make it into fictional accounts of duels on the beach. But not matter! It’s the ring and spark of steel on steel while the sun glints off sand and sea we’re after. Which, by the way, is another issue with fencing on the beach: glare, which can easily be used to advantage by maneuvering the adversary into position with his face facing sun and sea, or even a sandy sea breeze…
The duel on the beach also makes its way into pirate pulp fiction, as in these novels by Donald Barr Chidsey (the rhythm of whose name makes me think of Simon Bar Sinister):
The duel on the beach has had a fair amount of depiction in other print media as well, including trading cards and comic books:
A duel over buried treasure below, with daggers, clearly inspired by the famous Howard Pyle painting.
Below, a duel for command–a myth, as is the duel or affray over buried treasure.
The trading card above probably owes as much to Douglas Fairbanks’s The Black Pirate (1926) as it does to Howard Pyle and various fiction, as shown below–but then, The Black Pirate owes much to Howard Pyle, purposely so according to the film program. We’ll discuss the duel in this film in more detail in part three.
Of course, one of the great duels on the beach is depicted in Captain Blood: His Odyssey (1922) by Rafael Sabatini, in particular the dramatic build-up and famous dialogue. But alas, the duel itself is described in only two lines:
“It was soon over. The brute strength, upon which Levasseur so confidently counted, could avail nothing against the Irishman’s practised skill.”
In part four we’ll look further into this most famous of duels as it was depicted in the 1935 film starring Errol Flynn, Olivia de Havilland, and Basil Rathbone.
Numerous illustrators have tried their hand at the duel, some more successfully than others, historical accuracy (and even fictional accuracy) often to be desired.
This is a good opportunity to segue to several tobacco card illustrations of duels on the beach. Up first is Captain Blood, although based entirely on the duel in the 1935 film.
The purportedly authentic duel between Mary Read and a fellow pirate who was threatening her lover (or at least Charles Johnson so claimed, but he lied often in his 1724-1726 chronicle of pirates) shows up in an Allen & Ginter Cigarettes trading card, circa 1888. I’ve included it here as the account may well be fictional.
Norman Price illustrated this duel in The Rogue’s Moon by Robert W. Chambers (New York: D. Appleton and Company, 1929), yet another prolific (roughly one hundred novels, short story collections, and children’s books) popular genre writer already forgotten less than a century later. The story is enjoyable enough even given its light genre and Chambers’s style. It is action-filled and interspersed with scenes of mild titillation, and includes several major characters of the era (Blackbeard among them) in prime appearances, with pirates as the story’s villains. The protagonist is a cross-dressing, seeking-revenge-against-pirates, older teenager named Nancy Topsfield. The novel pretends to a background of historical accuracy, which is in fact, as with most of the genre, only superficial at best.
The duel is brief but exciting, and follows the manner described by Charles Johnson as in use by the early eighteenth century pirates of the black flag: pistols followed by cutlasses. Read’s sword is a “Barbary” or “Arab” blade, which might be a nimcha (of which were some naval captains who owned these swords, usually as trophies) but which the illustrations suggest is more likely a scimitar (or shamshir if you want to be pedantic–but scimitar was the common word in use by Europeans at the time). In either case her blade looks curved enough that she needs to hook her thrust. The duel ends with a near-decapitation.
Although Price’s drawings and paintings of men in the story are reasonably historically accurate by the low standard of popular illustration, he takes pop culture liberties with the leading female characters. He and Chambers dress Mary Read as a typical 1920s/1930s Hollywood starlet-type of pirate, sometimes termed “pirate flapper” and derived most likely from Douglas Fairbanks’s style of dress in his 1926 The Black Pirate. Female pirates were commonly depicted in this fashion during this era, ranging from magazine ads for sterling flatware to Hollywood studio portraits.
Given the rarity of known pirate duels, it’s not surprising that so few are depicted in various literature. However, at least one is. The famous duel, familiar if you’ve read the French edition of Alexandre Exquemelin’s The Buccaneers of America, or other related French texts (or even some of my books), between Laurens de Graff and Nicolas Van Horn at Isla Sacrificios near Veracruz in 1683 is also depicted on a cigarette card. However, given that this duel actually occurred and we have period accounts of it, we’ll save further description for part five. Whoever illustrated the duel below had not read the rare eyewitness account (unsurprising at it is neither easily found nor easily deciphered) although he or she may have read a secondary account, possibly Exquemelin’s.
All of this rather meandering exposition of the duel on the beach in fiction is leading us to a single novel that epitomizes it above all others: The Black Swan by Rafael Sabatini. And, given its role and singular technique, I’ll devote part two of this series to it entirely.
I’d have to do a more detailed survey of recent fiction to adequately note any other significant renderings in fiction of duels on the beach. At the moment, only one comes to mind, that depicted by famous Spanish novelist Arturo Pérez-Reverte in El Puente de Los Asesinos (2011), part of his excellent Capitán Alatriste series. Alas, there is no English translation. The first six were translated, but not the seventh due to low sales, an indication of where the genre–especially “upmarket” swashbucklers–is today, replaced largely, and sadly, by fantasy.
The swashbuckling fiction that does make it print today tends to fall into the “writing by trope” category with inaccurate historical detail (a problem with much historical fiction in general today) and “dialogue as might be spoken by suburbanites” (likewise a common problem as a journalist friend pointed out), or is sadly relegated to small ebook and print-on-demand presses with little if any access to brick-and-mortar chains and independents. I remain hopeful that this will change. And if I bother to dust off Fortune’s Favorite, the sequel to Fortune’s Whelp, I’ll let you know–it has a duel on the beach in it. In the Caribbean. Naturally. 🙂
On a more positive note, I’ll close with two watercolors of pirate dueling on the beach, by one of the most famous American painters of all: Andrew Wyeth, son of illustrator N. C. Wyeth, around the age of twenty.
And last, well, just because it’s a beautiful beach painting in the pirate genre by Andrew Wyeth…
A couple of notes on the duel at Teviot beach by Howard Pyle: Aficionados of fencing history will note that Pyle clearly took his inspiration from late 19th and early 20th century epee duels, many of which were photographed, and some even filmed. In the late 17th century it would be unusual for there to be a directeur de combat (someone who monitors the fight, in other words, and ensures that no villainy is perpetrated). Further, seconds often fought too, and spectators were absent more often than not.
Even more critically, both swordsmen are in sixte rather than tierce (although one might argue that the fencer on the left is actually correctly in carte, perhaps having just been parried to the outside line by a circular parry). Sixte, not yet called by this name, was not unknown but was disregarded by most masters and fencers in spite of its utility in closing the “light” (hole, open target) revealed in tierce. Sixte is a weaker position and requires more blade set and wrist angulation (some of the latter was later relieved by modifying the way the grip was held) than tierce, which is a stronger position physically and whose point falls naturally toward the adversary’s shoulder. The guards shown in the painting are more typical of fencers in Pyle’s day (and in ours as well).
POSTSCRIPT for members of the Huntsville Fencing Club: post-pandemic we’ll [finally] host a rum tournament on the beach. 🙂
Copyright Benerson Little 2020. First published September 1, 2020. Last updated May 12, 2021.
Set amidst the 1665 London plague, Fortune’s Fool by Rafael Sabatini spins the tale of an English officer, Colonel Randal Holles, too often abandoned by the goddess Fortune.
It’s not Sabatini’s best work, but it’s an enjoyable read and, in particular, it clearly show’s his worldview: one romantically cynical, in that he understood well the foolishness and fecklessness, even the depravity and cowardice, of much of humankind, while simultaneously asserting that good can, and often does, triumph in the end.
Sabatini understood that to succeed honorably, even nobly in such a world, one needed not only courage, but wit as well. And it never hurt to have a sharp sword too.
In particular, the novel, whose details are almost certainly drawn from Daniel Defoe’s A Journal of the Plague Year (1722) and the Diary of Samuel Pepys, shows numerous parallels with today’s Covid-19 pestilence. After all, people don’t change. They lie, they deny, they seek supernatural counsel, they indulge in quackery, they hoard, they exploit, they scapegoat, they profit from the death of the members of some groups over others.
And yet, many rise above the baser nature of humanity, and behave nobly, with great courage and sacrifice.
And, romance though it is, Fortune’s Favorite shows this hopeful, uplifting side of humanity amidst death and the panicked fear of it. Even so, and sadly, our modern experience with the Covid-19 pandemic has proved Sabatini, not to mention historical chroniclers, too accurate in their descriptions of humanity in time of a deadly pandemic.
The protagonist is based on Gervase Holles (1605 – 1675) and his family. Plot details concerning widows and profane exchanges appear to be based on those of his father, Frescheville Holles (1575- 1630), but Randal himself is likely based on Gervase’s son, Sir Frescheville Holles (1642 – 1672). Sir Frescheville, originally an officer of militia and afterward a privateer captain, was, similarly to the narrative in the book, appointed to the navy thanks to the patronage of George Monck, Duke of Albemarle. Sir Frescheville, commanding the HMS Antelope, lost an arm at the Four Days Battle, was knighted afterward, became Member of Parliament for Grimsby, later mayor of Grimsby, and was made a Fellow of the Royal Society. He was killed in action in 1672 while commanding the HMS Cambridge at the Battle of Solebay. There was no real Randal Holles by name. Futher, no Holles appears on the death warrant of King Charles I, unlike in the book, given that the real Holles family were supporters of the royal prerogative, not Parliamentary rebels against the king.
Finally, and notably, the novel has an excellent description of swordplay in action too!
Copyright Benerson Little 2020. First published March 30, 2020. Last updated February 18, 2021.
Associated with our announcement of the creation of Treasure Light Press and the forthcoming publication of its first title, Captain Blood: His Odyssey by Rafael Sabatini, The 100th Anniversary Annotated Edition, here’s a look at Captain Blood dust jackets over the years!
In a future post I’ll cover trade and mass market paperback covers.
The dust jacket of the first hardcover edition above is iconic, if not entirely historically accurate, but then, fiction book cover illustrations almost never are. Artist and illustrator N. C. Wyeth–a student of Howard Pyle–does, however, well-conveys the color and swashbuckling adventure of the novel.
Notably, as in many of the dust jackets below, Captain Peter Blood is sporting a mustache. However, only in the magazine serial, “Brethren of the Main,” published prior to the release of the novel, does he wear one. In the novel he does not. The Wyeth illustration has been used in numerous subsequent editions.
Also notably: according to authors Jesse F. Knight and Stephen Darley (see below), Captain Blood did not reach the bestseller list the year it was published. (See the end of the blog for a few notes on identifying true first editions.)
In 1924, Vitagraph motion picture studio released a silent version of Captain Blood, of which only thirty minutes unfortunately still survive. Starring J. Warren Kerrigan–a poor choice if his personal character were to be compared to that of the fictional hero of the book, for he was no Peter Blood nor even an Errol Flynn–the film did much to further promote the novel. In fact, the novel was printed in full or in part in hundreds of newspapers as part of the studio campaign.
The illustration above is not a dust jacket, but the cover of the Astor Theatre program for the 1924 version of Captain Blood, starring J. Warren Kerrigan. The program art is based on the design of the novel’s 1922 US edition.
A UK photoplay edition associated with the 1924 Vitagraph film. Again, Peter Blood sports a mustache he doesn’t have in the book. His costume, however, maintains a fair degree of historical accuracy. The cover illustration is the same one used in the original UK (Hutchinson) first edition. As with the Wyeth illustration, this one has been used in full or in part for numerous subsequent UK editions.
In 1927 a Riverside Press edition (Houghton Mifflin) was published with the dust jacket above, and remained in print for at least twenty-five years. Both the dust jacket and the four illustrations inside are by Clyde O. Deland, the most impressive being that of the cover and perhaps of Col. Bishop being forced to walk the plank, and the least being that of the famous duel on the beach–it looks rather stilted and lacks the dynamism of Howard Pyle and N. C. Wyeth duel impressions. The illustrations are above average for historical detail. I’ve seen a simple drawing in black, based on the illustration, on the front hardcover of some library editions.
In 1929 a German edition was published. Mine has small notes in pencil regarding historical personages and such–Rafael Sabatini’s books have a knack for inspiring the study of history. I’ve often wondered how this reader, assuming he or she read it prior to WWII, regarded the rise of German authoritarianism and dictatorship–and the rise of the Nazi party–in light of the very opposing values of the novel.
A quasi-photoplay edition was published in 1935, timed with the release that December of the famous film that also made Errol Flynn a star. By quasi I mean that its end papers are illustrated with scenes from the film. There are no images placed within the pages, however. The cover is copied from a hard-to-find publicity still from the film, shown below.
An identical dust jacket, lacking only the film information, was also released around 1935 or soon after. I’ve seen this dust jacket on Grosset & Dunlap editions with and without the end papers from the film. Notably, all Grosset & Dunlap editions with this jacket have a statement on the front flap or back cover that it is a reduced price edition, made possible by using the original plates and the author accepting a reduced royalty. I’ve also seen library editions (no dust jackets) with a simple drawing in color, based on the image above, on the hardcover, and I’ve seen the full image itself also used.
Newspaper ad for the 1935 film, showing a US edition dust jacket with Errol Flynn. This jacket was never actually produced.
Hutchinson in the UK also published an edition timed with the release of the “new talkie film.” It has no images from the film in the book itself.
Appropriately, given that Peter Blood was half Irish and considered himself an Irishman, an Irish language edition was published in 1937. The text font is beautiful. Sabatini, as did and do many writers, put his pirate hero in boots. In fact, mariners in this era did not wear riding boots–which is what the myth has pirates wearing–aboard ship, or even ashore–unless mounted on a horse.
A rather youngish-looking (definitely not in his thirties) Captain Peter Blood on the dust jacket of the 1973 edition published by Hutchinson Library Services Ltd in the UK. Purists will note the incorrect grip on the smallsword.
Given that both of my fencing masters (Dr. Francis Zold, Dr. Eugene Hamori) were Hungarian, it’s appropriate that I’d have at least one copy in Hungarian to honor these swashbucklers!
There are numerous Russian editions of the novel, many of them well-illustrated. This is not a dust jacket per se, but the printed cover of a hardcover dual edition: Captain Blood: His Odyssey and The Chronicles of Captain Blood (aka Captain Blood Returns in the US).
The cover of the Easton Press leather edition. The ship is of a later period and Peter Blood is wearing boots, as in the novel but not as he would have in real life–again, unless he were about to mount a horse or had just dismounted…
Last, my favorite recent hardcover edition. In Spanish, it’s well-illustrated with line drawings, and its design does justice to the story.
Dust jacket illustrations, collectible and evocative as they are, are there for a reason: to induce the potential reader to buy the book. And no matter how appealing they are, they pale when compared to the actual text. A battered old library copy sold for a buck at a yard or library sale is still a great read.
Of course, that hasn’t stopped me from collecting a variety of editions with dustjackets!
Captain Blood First Editions
A quick word of warning to those of you who collect books, especially those looking for first editions. Later editions or printings of Captain Blood are often listed, sometimes mistakenly, sometimes purposefully to deceive, as true first editions. It is easy to mistake later editions for firsts, given that many editions list the original publication year–1922–but not the year of the later edition or impression. For example, both the 1922 first and the 1924 US photoplay state 1922 as the year, but I’ve often seen the 1924 listed as a true first, as I have later editions. I’ve even seen the 1924 photoplay with dustjacket listed as a first for over $1,700–a terrible ripoff, were anyone to pay this much. I acquired both of my similar copies for under $50, and at the time the over $1,700 priced edition was listed (January 2021), so was a $40 edition with dustjacket and in similar condition. Unfortunately, even editions published in the 1930s typically list only 1922 as the year of publication.
Notably, true firsts have the first dust jacket shown above, and list both the year 1922 AND the month and the year of all impressions, except for the first impression, up to the date of the published edition. For example, the eleventh impression of the first edition lists the dates of the second through eleventh impressions, the last given as “ELEVENTH IMPRESSION, OCTOBER 1924.” The dust jacket spine lists the printing, for example, “Twelfth Printing” for the eleventh impression.
For more information on identifying firsts, see The Last of the Great Swashbucklers: A Bio-Bibliography of Rafael Sabatini by Jesse F. Knight and Stephen Darley (New Castle, DE: Oak Knoll Press, 2020), and also “Collecting Rafael Sabatini” by Jesse F. Knight in Firsts: The Book Collector’s Magazine (March 2001, Vol. 11, No. 3).
True firsts in fine or near fine book and dust jacket conditions (very rare!) command large prices, so if you’re looking to buy one, make sure that’s what you’re actually getting. Especially beware of firsts whose dust jacket is actually a modern–and usually so noted–reprint. They’re typically much over-priced. For example, I’ve seen a near-fine original first without dust jacket, which can often be found for $25 or less if you’re patient, combined with a $25 reprint dust jacket–and listed for a few hundred dollars. It’s a ripoff. It’s the original dust jacket, or author signature, or both, that command the great prices.
Copyright Benerson Little 2020-2021. First published February 12, 2020. Last updated January 25, 2021.