Contents
Meeting
of the Royal Guild of Defence
A
meeting of the Guild was held at Rowany Festival on Sunday 8 April 2007.
The chief matter for discussion was
the large number of members in the guild who, by the ordinances of the guild,
have been inactive for the past five years, that is to say, have not taken
part in the playing or examining of Prizes. As of late last 2006, of 113
members listed as holding rank, 57 had taken part in Prizes since the creation
of the Kingdom of Lochac in July 2002. Obviously, 56 had not. The Provost
Secretary's concern was that the ordinances of the Guild be applied
appropriately and that those who had not sought to make any contribution to
the Guild should be listed as 'inactive'.
After a wide-ranging discussion, the
Provost Secretary was asked to provide to the Body of Guildmasters by May
Crown a list of those who according to Guild records had not participated in a
Prize. This list was published on the Guild web site with a call on the
Fencers List and in Pegasus for any member named who wished to retain
their active status to contact and demonstrate to the Lord Guildmaster the
contribution they have made to the Guild. As a result of this process, the
Active List has been update and a separate Inactive list now appears on the
web site.
The implications of this matter led
to a broader discussion about the definitions of 'activity' in the Guild
ordinances, as there are circumstances such as injury, distance, mundane
requirements or the availability of Prizes that may affect members'
opportunities to contribute. The Body of Guildmasters requested that
amendments to the ordinances be drafted for approval. As a result, the
ordinances have been amended to state as follows:
It
is the responsibility of all members of the Guild to contribute to the
practice and promotion of the period arts of defence in Lochac. This
includes, but is not limited to, the playing of Guild Prizes, either as
candidate or examiner or sponsor, and the teaching of period skills and
techniques in rapier and armoured combat. Members who do not actively
contribute to the goals of the Guild may be asked by the Lord Guildmaster to
demonstrate the service they have provided to the Guild. Members who do
not do so shall have all privileges suspended, until such time that the Lord
Guildmaster, upon receiving the advice of members of the Body of
Guildmasters, is satisfied that the member once again fulfils his or her
obligations to the Guild. The Body of Guildmasters reserves unto itself the
right to administer further sanctions, up to and including demotion in rank,
subject to the final decision of the Lord Guildmaster.
A side issue was a suggestion that
the eligibility requirements for advancement in rank (e.g. from Free Scholar
to Journeyman or Journeyman to Provost) should including having examined a
Prize at level. This was broadly opposed because of the difficulty of finding
Prizes to examine, and the very good argument that we should not be making it
harder for candidates to seek advancement. However, the involvement of members
as examiners wherever possible is actively encouraged, to support growing
understanding of how to examine and what a Prize is about. To that end, this issue of Punta
Dritta includes a reprint of an article from a previous issue about
playing the Prize.
An issue raised from the floor was concern about the lack
of training provided at Festival during the times set aside to do so. It has
been suggested that members of the Guild should start offering actual classes
during training time, to be officially listed in the A&S collegia
timetable and the Lord Guildmaster will be encouraging members to start
thinking about this ahead of the next Festival.
Finally, there was raised the
concern about how we encourage more fencers to take part in the Guild. A key
point was that too many times there seem to be fencers who might wish to play
a Prize, but don't think they can. This falls on every member of the Guild to
consider those who are fencing and engaging in armoured combat, and encourage
them to look at playing a Prize, both for recognition of their abilities, and
in recognition of the fact that playing period techniques will improve their
fighting and appearance on the field.
Reports
on Prizes in the Kingdom of Lochac
TO ALL
WHO PROFESS SKILL AT ARMS, BE IT KNOWN THAT
Canterbury
Faire
On
Sunday the Fifth Day of February AS XLI at Canterbury Faire:
Scholar
John of Darton, sponsored by Guildmaster ibn Jelal, did play his Free Scholar's Prize in the following weapons: single sword. The candidate
was examined by Provost Somerled of Radcliffe, Journeyman Luan an Fael,
Journeyman William de Cameron and Free Scholar Maree de Cauty. The
examiners did conclude that the Scholar had successfully played the Prize and
did acknowledge and elevate him to the rank of Free Scholar.
Free
Scholar Martuccio of Southron Gaard, sponsored by Guildmaster ibn Jelal, did
play his Journeyman's Prize in the following weapons: Rapier; Rapier and
Dagger; and Rapier and Cloak. The candidate was examined by Provost
Somerled of Radcliffe, Journeyman Luan an Fael and Journeyman William de
Cameron. The examiners did conclude that the Free Scholar had successfully
played the Prize and did acknowledge and elevate him to the rank of Free
Scholar.
Rowany
Festival
On
Friday the Sixth Day of April AS XLI at Rowany Festival:
Free Scholar Adair
Mac Dermid, sponsored by Provost Owain Cantor ap Hughe, did play his
Journeyman's Prize in the following weapons: Rapier; Rapier and Baton; and
Rapier and Dagger. The candidate was examined by Journeyman Donncadh Baillie,
Journeyman Emrys Tudur, Journeyman William de Cameron and Guildmaster Silfren
the Singer. Following due consideration, his examiners did conclude that
the Free Scholar had successfully played the Prize and did acknowledge and
elevate him to the rank of Journeyman.
Free
Scholar Maree de Cauty, sponsored by Guildmaster ibn Jelal, did play her
Journeyman's Prize in the following weapons: Rapier; Rapier and Dagger; and
Rapier and Cloak. The candidate was examined by Journeyman Adair Mac
Dermid, Journeyman Emrys Tudur, Journeyman Donncadh Bailie, Journeyman William
de Cameron and Provost Owain Cantor ap Hughe. Following due
consideration, her examiners did conclude that the Free Scholar had
successfully played the Prize and did acknowledge and elevate her to the rank
of Journeyman.
Free
Scholar Aegidius de Hammo of Rowany, sponsored by Guildmaster Angus Galbraith,
did play his Journeyman's Prize in the following weapons: Rapier; Rapier and
Dagger; and Rapier and Buckler. The candidate was examined by Journeyman
Maree de Cauty, Journeyman Adair Mac Dermid, Journeyman William de Cameron and
Guildmaster Silfren the Singer. Following due consideration, his examiners did
conclude that the Free Scholar had successfully played the Prize and did
acknowledge and elevate him to the rank of Journeyman.
Journeyman
Emrys Tudur, sponsored by Guildmaster ibn Jelal, did play his Provost's Prize
in the following weapons: Rapier; Rapier and Dagger; Rapier and Cloak; Rapier
and Rotella; and Rapier and Baton. The candidate was examined by Provost Owain
Cantor ap Hughe, Provost Diccon Shorthand, Provost Gregory Tortouse de Sloleye,
Guildmaster Francois Henri Guyon, Guildmaster Caleb Adolphous and Guildmaster
Angus Galbraith. His examiners did agree that the Journeyman had most
successfully played the Prize and did acknowledge and elevate him to the rank
of Provost.
Journeyman
Luan an Fael, sponsored by Guildmaster ibn Jelal, did play his Provost's Prize
in the following weapons: Rapier; Case of Rapier; Rapier and Dagger; Rapier
and Cloak; and Rapier and Baton. The candidate was examined by Provost
Owain Cantor ap Hughe, Provost Gregory Tortouse de Sloleye, Guildmaster Angus
the Barbarian, Guildmaster Caleb Adolphous, Guildmaster Silfren the Singer and
Guildmaster Francois Henri Guyon. Following due consideration, his
examiners did conclude that the Journeyman had successfully played the Prize
and did acknowledge and elevate him to the rank of Provost.
Journeyman
William de Cameron, sponsored by Guildmaster ibn Jelal, did play his Provost's
Prize in the following weapons: Rapier; Rapier and Dagger; Rapier and Cloak;
Rapier and Rotella; and Rapier and Baton. The candidate was examined by
Provost Diccon Shorthand, Provost Owain Cantor ap Hughe, Provost Gregory
Tortouse de Sloleye, Provost Alessandro von Florenz, Guildmaster Francois
Henri Guyon and Guildmaster Caleb Adolphous. His examiners did agree
that the Journeyman had successfully played the Prize and did acknowledge and
elevate him to the rank of Provost.
Prize
announcements
TO ALL
WHO PROFESS SKILL AT ARMS, BE IT KNOWN THAT
Aneala
I, Provost Dona Sabine d'Ricold da
Forli, do give leave and licence to our Scholar, Sir Kane Greymane, to play
his Free Scholar's Prize against all Free Scholars, Journeymen, Provosts and
Masters in their subtle mystery at these weapons, viz: Rapier. These are to
give notice that the said Scholar will be at the Fencing Schola on the
19th-22nd of July, ASXLII, upon the Field, to perform and do their utter most
for the achievement and bearing away of the Prize.
I, Provost Dona Sabine d'Ricold da
Forli, do give leave and licence to our Scholar,
Andre de Montsegur, to play his Free Scholar's Prize against all Free
Scholars, Journeymen, Provosts and Masters in their subtle mystery at these
weapons, viz: Rapier. These are to give notice that the said Scholar will be
at the Fencing Schola on the 19th-22nd of July, ASXLII, upon the Field,
to perform and do their utter most for the achievement and bearing away
of the Prize.
I, Provost Dona Sabine d'Ricold da
Forli, do give leave and licence to our Scholar, Alicia Esperanza, to play his
Free Scholar's Prize against all Free Scholars, Journeymen, Provosts and
Masters in their subtle mystery at these weapons, viz: Rapier. These are to
give notice that the said Scholar will be at the Fencing Schola on the
19th-22nd of July, ASXLII, upon the Field, to perform and do their utter most
for the achievement and bearing away of the Prize.
I, Provost Dona Sabine d'Ricold da
Forli, do give leave and licence to our Scholar, Walter of St Basil, to play
his Free Scholar's Prize against all Free Scholars, Journeymen, Provosts and
Masters in their subtle mystery at these weapons, viz: Rapier. These are to
give notice that the said Scholar will be at the Fencing Schola on the
19th-22nd of July, ASXLII, upon the Field, to perform and do their utter most
for the achievement and bearing away of the Prize.
I, Provost Dona Sabine d'Ricold da
Forli, do give leave and licence to our Scholar, Sir Pantera a la Vale, to
play his Free Scholar's Prize against all Free Scholars, Journeymen, Provosts
and Masters in their subtle mystery at these weapons, viz: Rapier. These are
to give notice that the said Scholar will be at the Fencing Schola on the
19th-22nd of July, ASXLII, upon the Field,
to perform and do their utter most for the achievement and bearing away
of the Prize.
I, Provost Dona Sabine d'Ricold da
Forli, do give leave and licence to our Scholar, Laviolas, to play his Free
Scholar's Prize against all Free Scholars, Journeymen, Provosts and Masters in
their subtle mystery at these weapons, viz: Rapier. These are to give notice
that the said Scholar will be at the Fencing Schola on the 19th-22nd of July,
ASXLII, upon the Field, to perform
and do their utter most for the achievement and bearing away of the Prize.
I, Ancient Guildmaster Don Dameon
Greybeard, do give leave and licence to our Journeyman Donnchadh Baillie
to play his Provost's Prize against all Provosts and Guild Masters in their
subtle mysteries at these weapons, viz: Single Rapier; Rapier and Dagger; Case
of Rapier; Rapier and Buckler; and Rapier and Rotella. These letters are
to give notice that our Provost will be at the Fencing Schola in the Barony of
Aneala on the weekend of the 19th-22nd of July ASXLII, to perform and do his
utter most for the achievement and bearing away of the Prize.
River
Haven
I,
Guild Master Don Henry Fox, do give leave and licence to our Scholar Marcus de
la Mancha, to play his Free
Scholar's Prize against all Free Scholars, Journeymen, Provosts and Guild
Masters in their subtle mystery at these weapons, viz: Rapier. These are to
give notice that our said Scholar will be at the Fencing Fest, River Haven on
Sunday 5th August ASXLII, to perform and do his utter most for the achievement
and bearing away of the Prize.
I, Guild Master Don Henry Fox, do
give leave and licence to our Scholar Wulfric Greycloak, to play his Free
Scholar's Prize against all Free Scholars, Journeymen, Provosts and Guild
Masters in their subtle mystery at these weapons, viz: Rapier and cane.
These are to give notice that our said Scholar will be at the Fencing Fest,
River Haven on Sunday 5th August ASXLII, to perform and do his uttermost for the
achievement and bearing away of the Prize.
I, Guild Master Don Henry Fox, do
give leave and licence to our Scholar Wulfgar Strongarm, to play
his Free Scholar's Prize against all Free Scholars, Journeymen, Provosts and
Guild Masters in their subtle mystery at these weapons, viz: Rapier and
cane. These are to give notice that our
said Scholar will be at the Fencing Fest, River Haven on Sunday 5th August
ASXLII, to perform and do his uttermost for the achievement and bearing away of
the Prize.
I, Guild Master Don Henry Fox, do
give leave and licence to our Scholar Wulfstan Bloodaxe, to play his Free
Scholar's Prize against all Free Scholars, Journeymen, Provosts and Guild
Masters in their subtle mystery at these weapons, viz: Rapier. These are to
give notice that our said Scholar will be at the Fencing Fest, River Haven on
Sunday 5th August ASXLII, to perform and do his uttermost for the achievement
and bearing away of the Prize.
I, Guild Master Don Henry Fox, do
give leave and licence to our Scholar Orm the Red, to play his Free Scholar's
Prize against all Free Scholars, Journeymen, Provosts and Guild Masters in
their subtle mystery at these weapons, viz: Rapier. These are to give
notice that our said Scholar will be at the Fencing Fest, River Haven on
Sunday 5th August ASXLII, to perform and do his uttermost for the achievement
and bearing away of the Prize.
I, Provost Somerled of Redcliff, do
give leave and licence to our Scholar Emilio de Batista to play his Free
Scholar's Prize against all Free Scholars, Journeymen, Provosts and Guild
Masters in their subtle mystery at these weapons, viz: Rapier and dagger.
These are to give notice that our said Scholar will be at the Fencing Fest,
River Haven on Sunday 5th August ASXLII, to perform and do his uttermost for the
achievement and bearing away of the Prize.
I,
Guildmaster Don Henry Fox, do give leave and licence to our Journeyman Giles
Leabrook, to play his Provost's
Prize against all Provosts and Guild Masters in their subtle mystery at these
weapons, viz: rapier; rapier and dagger; rapier and baton; rapier and buckler;
and rapier and parrying gauntlet. These are to give notice that the candidate
will be at the Fencing Fest, River Haven on Sunday 5th August ASXLII, to perform
and do his utter most for the achievement and bearing away of the Prize.
LONG LIVE THE CROWN OF LOCHAC!
Playing the Prize
By Guildmasters Silfren the Singer and ibn
Jelal, this article first appeared in Punta Dritta in November 2003.
This isn't "The Gospel According To The
Guild of Defence", but the thoughts of two Guildmasters, Silfren and ibn
Jelal, who played the first prizes in Lochac and have examined many since.
We put these thoughts forward and invite
commentary from all.
The Purpose Of Playing The Prize
The Guild of Defence is devoted to research
into and teaching of period martial arts.
The playing of the prize is a way in which we
measure people's progress in the art of defence, their competency in the use
of their weapons and understanding and use of period techniques.
The requirement for ability and accuracy
increases as the Guild member goes through the ranks of the guild, with the
upper ranks also required to be actively teaching and studying period styles.
The prize is not a competition to see who can
land the most touches, it is an examination of the candidate's ability.
Examiners present problems to the candidate and give them opportunities to
show different techniques in solving those problems.
The Differences Between Ranks
The ideal candidate will have a range of
attacks and defences, rather than a single stance or movement of the blade
that works for them. They will have a range of footwork, and can show they
know when to use each direction and style of pace, even if they use some more
than others. They will attack in different lines, and marry those attacks with
correct footwork. They will use different defences depending on the opponent's
attack, and will demonstrate an understanding of how to use distance, blade
work, voiding, and both hands (empty or no) as part of their response.
There are no hard and fast differences
between the ranks. However there are some general concepts which can help us
determine performance. Those concepts are ability, which includes speed and
efficiency, understanding of actions, and complexity of the fencing phrases.
The following examples should give you an idea of how those concepts are
applied.
Each rank will have a different level of
ability in the same weapon, a Journeyman playing a sword and buckler prize
should be a better sword and buckler fighter than a Free Scholar. The higher
the rank, the faster the speed - not just physical speed, but speed of
reaction, speed of understanding. A Provost will solve problems more quickly
than a Journeyman who will solve them faster than a Free Scholar will. The
higher the rank, the quicker they should be to see an opening and take
advantage of it. Physical speed is athleticism, the Guild is more interested
in speed of understanding, and in the level of timing, as well as the
efficiency of their actions. The candidates motion should increase in
efficiency as they progress through the ranks, which will result in an
apparent increase of speed. It's a continuum from the choppy static fight of
the Free Scholar, through to flowing seemingly effortless fight of the
Guildmaster.
Given something they have never seen before,
a Free Scholar would stand back and be unsure of what to do and perhaps be
tentative in trying what they know against it. A Journeyman would think
"That's different!" but go in and attack it with their best shot. A
Provost would probe the new stance or defence carefully, noting reactions. A
Guildmaster would look at it, note the possibilities inherent in it, and then
manipulate the opponent to expose the weak spots they've seen.
A Free Scholar will use simple attacks,
probably only one try per pass. A good one will not stop when the attack has
failed, but turn it into another attack, salvaging a missed thrust with a cut.
They will be reasonably balanced in their movements, seldom over stepping or
over-parrying. They will show competence in the weapons form, including some
clear understanding of period style, use of both hands, and some period style
footwork. A modern epeeist may score many touches, but would not be suitable
as a Free Scholar of the Guild.
A Journeyman will be making two or three
attacks, stringing them together, before they retire out of distance. They'll
understand ripostes and the rhythm of attack and defence. They should be more
settled and cleaner in their movements than the Free Scholar, have a good
understanding of range, be more economical in their movements. They should be
solidly competent in the use of the chosen weapons form, showing more
understanding of how it was used in period, as well as body voids and good
footwork.
Provosts will clearly use that attack and
defence rhythm, but will control it more, and will be using attack by second
intention, where the initial attack sets up the subsequent ones. They will be
using timing well, landing their hits with intelligence more than with speed.
The Provost is a teacher, and so must demonstrate good form in their
movements. They should be well balanced all the time, upright, their footwork
crisp and quick. They should look good, not wild or sloppy. Their blade work
should be neat and accurate, economical and well timed. They should show a
good understanding of one or more period styles, demonstrating the way the
feet and hands work together, as well as many of the possibilities of each
weapon they choose.
Guildmasters will do all a Provost does but
more so, and will make it seem effortless, unfussed. They will look good in
all their movements, and demonstrate a mastery of their weapons, showing
several period styles and approaches to problems.
Considerations For When You Examine A
Candidate
The examiners should collaborate to be sure
the candidate is given every opportunity to demonstrate their ability, they
should each concentrate on providing different openings and attacks and
defences for the candidate to take advantage of. Their job is to provide an
environment for the candidate to show what they can do, not what they can't
do. They should be sure to attack as well as wait to be attacked, examine the
candidate at several distances, see what they do when confronted with
different period style attacks or stances.
It is important to remind everyone involved
on the day that this is an examination of style and ability, not a tournament
where getting the touch is all that matters.
The maintainers of standards for each rank
are the members of that rank. If Guildmasters and Provosts and a single
Journeyman are testing a Journeymans's prize, the Journeyman should have the
final say, as to whether the candidate is their peer. It is natural for higher
ranks to see more faults in a candidate than the lower ranks, however it's the
person of the rank being examined who will have a better feel for what is
required at that rank. We do not expect skill comparable to a Provost at Free
Scholar rank, and higher ranks should make an effort to moderate their
expectations and actions to that of the rank being examined.
Considerations For The Candidate
Your job is to demonstrate your style and
knowledge. You will be expected to show an understanding of offence and
defence in a period style. The concept to remember here is depth and breadth
of ability.
One of the sure-fire ways to fail a prize is
to concentrate on winning each bout. When candidates have dropped into this
mindset, they fall back on their old faithful actions, and have shown a very
limited range of actions. What your examiners want to see is your diversity.
Some bouts your examiners will give you opportunities to attack and in others
they will push your defence.
The job of an examiner is to bring out your
skill, which they will do by presenting problems. If you see an examiner
presenting the blade, your first thought of making the bind is probably the
correct one, as the examiner is most likely giving you an opportunity to show
that action. They are giving you a chance to show how you deal with a
threatening blade. It's not a tournament, they want you to succeed and are not
trying to sucker you into making the wrong action.
Another thing you should remember as
candidate is to use the combination you've chosen. It's no good selecting
sword and buckler if you don't use the buckler in your fencing. Your examiners
want to see you trying to make hand offs, deflections and actions on the blade
with the buckler, not just this lump of wood waving vaguely in the direction
of the examiner.
Most of all, we want to see you having fun.
This is an opportunity to fence for the sake of the art and style. It's not a
competition, and there's no pressure on you to win. We want to see you try the
stuff you think doesn't work for you reliably, as well as the stuff you're
good at. This is the time to show what you know, not just what you know works
for you.
Di Grassi as a foundation for SCA standard
rapier
An edited text
of a presentation by Provost
Owain Cantor ap Hughe
to the Combined Guilds Day held in Politarchopolis on 16-17
September 2006.
This discussion is in
part a result of the exhortation by several Guildmasters that I start working
towards the playing of a Master's Prize, an invitation that I have taken up
with a sense of challenge and great trepidation. Further study of
Giacomo di Grassi's manual as a first step towards that end was an obvious
and natural choice. My first lessons in fencing came from that manual, under the
instruction of Guildmaster Francois Henri Guyon. And, while my skills have
evolved with practice and further teaching, di Grassi remains the foundation
of my rapier style.
Using di Grassi as a
foundation for period rapier combat is my subject; specifically, its
practical application in introducing beginners to fencing in the SCA as played
under the standard rapier combat rules. My
views on this subject are drawn from my own experience as a fencing student
under various teachers, my reading of di Grassi's work and the SCA rapier
rules, and my more recent experience as a teacher of new fencers.
Should any fault be found with the interpretation of di Grassi or its
application, then such should rest with me, not with my teachers.
Principles
of di Grassi
Di Grassi's manual forms
part of a body of work that came out of Italy in the mid to late 16th
century, attaching scientific principles to the practice of swordplay.
The work of the Italian
masters through this period also documents the evolution of fencing from a
predominantly cutting style to the point-oriented styles of the 17th
century onwards. Di Grassi lays
out five principles for his True Arte of Defence:
1.
The straight line is the shortest.
2.
He that is nearest hits soonest.
3.
A circle bears more force in its extremity than in the centre.
4.
A man may more easily withstand a small force than a great one.
5.
Every motion is accomplished in time.
His principles are based upon his discussion of the different parts of the
sword, coupled with the different parts of the arm.
This has three elements:
-
The relative strengths of each part;
-
The speed at which different parts move; and
-
The relationship between the movement of the arm and the movement of
the sword.
Di Grassi's
principles cover fundamental aspects of period fencing: the importance of
distance from your opponent; the use of the weaker (but faster) parts of your
sword to attack and the slower (but stronger) parts to parry; and the
coordination of parry, riposte and footwork to accomplish your defence and
attack in time. His principles also set out a compelling argument for the use
of the thrust over the cut.
To make a cut, a
sword must travel in a circle; therefore, if your opponent makes a cut, and
you make a straight-line thrust, your attack will land first.
Taking this further, if your point is closer to your opponent than
their edge to you, a straight thrust will be quick enough to incapacitate your
opponent, without needing to parry the cut. Di Grassi style is very much about
using the point, and the thrust is proposed as his primary attack in all
forms. But he is not above using
the cut, when circumstances provide the advantage. It is possible to make a
cut more quickly, by using the wrist, but because the wrist is at the centre
of that circle of motion, it lacks force for a solid attack.
But if your edge is closer to your opponent than their point (for
example, after an unsuccessful or feinted thrust), then a cut can be landed
more quickly, and with sufficient strength, by virtue of being able to use
your arm to draw the edge.
Benefits
of di Grassi as a foundation for new SCA fencers
There are strong
similarities between di Grassi and SCA standard rapier. SCA standard combat
allows only two means of landing a blow: a good thrust; and a draw cut.
The practical application of this requirement means that the thrust is
the primary or, if you prefer, most-used, attack in SCA-regimented bouts.
As such, teaching di Grassi's approach of using the thrust in the
first instance, with the cut as a follow-up, is a straightforward way of
teaching students how to attack according to the SCA rules.
In my re-reading of
di Grassi's writings, I have also concluded that his approach also provides
a basis to teach a student to attack safely, when it comes to calibration of
the thrust. Under the SCA combat rules, a 'good' thrust is considered
to be the lightest touch that the combatant can feel. In actual combat, this may not be the case and calibration
continues to be a matter for debate, but it should be accepted that, for the
purposes of SCA rapier, the aim in training students is not to teach them to
run an opponent through, but how to land a firm, but not excessive, touch on
their opponent. Di Grassi describes the thrust as the result of two opposing
circular motions; for example, from the Low Ward, the point of the sword
moves in an arc downwards as the hand and arm moves in an arc upwards,
creating a straight line. I consider that this explanation of the movement of
the blade can help instil in students the concept that a 'thrust' is
actually the motion of reaching out to touch their opponent with an extension
of their arm. Combined with
training and practice in footwork, balance and distance, this approach may
help students refine their thrusting technique
and reduce the risk of the 'stabbing' motion that can be seen in less
experienced fencers. This will not prevent hard shots from happening - the
fencer's technique is only one factor in a sequence that also includes
speed, adrenalin and the movement of your opponent - but it will reduce the
risk.
My third preference
for teaching di Grassi comes down to a very practical issue. Di
Grassi is simple; his manual
distils a multitude of guards (for example in Marozzo) down to three: the
High, Broad and Low Wards. Based
on experience, the Low Ward is the natural position a new fencer will take the
very first time they pick up a sword. And when it comes to defence, di Grassi is simpler still;
his recommended defences against attacks from all wards all start from the Low
Ward. His accompanying footwork is also straightforward. Di Grassi's emphasis is on balance and deliberation, making
paces, or half paces, in attack or defence that are spaced according to the
stature of the combatant. Di
Grassi does not advocate the lunge - at most, the 'great pace' is a
demi-lunge - and in my own experience, his footwork is ideal for a larger
person who may be less fit and more aware of stresses on joints.
Teaching
Di Grassi
To train a di Grassi
fencer, I, like my own instructors, tend to start from the ground up.
The first lessons for new students start with footwork, teaching them
how to be balanced and their deliberate in their movements when they advance,
withdraw or move around their opponent. It's worth discussing here the
question of how soon to introduce students to slope paces, My view is that forwards and backwards are the logical starting point
for footwork, but that as soon as students are comfortable with the stance and
basic movements, you should incorporate slope and compass steps into their
training regime, particularly once they start bladework.
The bladework itself begins
with instruction on establishing and maintaining distance, the stance for di
Grassi's wards, their applications and their various pros and cons.
Something I have found useful recently in developing these skills is an
application of a principle taught to me from Viggiani, emphasising the
movements of the blade as transitions from one guard to another.
Di Grassi talks about moving the blade from one of his wards to end in
another (frequently the Low ward), but I have found Viggiani's description a
valuable concept in coming to understand how the wards fit together.
From the fundamental
lessons in foot and bladework, we move on to putting them together, developing
parries and ripostes and working on movements within time.
At this point we start looking at how to apply the knowledge acquired
to their opponents, for such elements as estimating their opponent's
effective distance, considering possible attacks from their chosen guard and
looking for ways around their defence. This is also the stage where I find
benefit in working on slope steps, where students can be shown the advantages
of stepping off-line to make an angled attack.
From here on, it is a case of sharing ideas on attack and defence and
building a repertoire of moves, branching out as skills develop into areas
such as feints, binds and off-hand forms.
Some of these are elements
not entertained, or seriously entertained, in the di Grassi approach.
For example, di Grassi is greatly dismissive of feints, or falsing as
he calls it, describing it as something more suited to practice, or 'sport', than to the serious business of staying alive in a fight. The difference between di Grassi's approach to fencing, and
the skills taught in the SCA, leads me to finish with some philosophical
discussion.
Finally,
some philosophy...
In preparing for this
discussion, I have been re-reading Egerton Castle's book on Schools
and Masters of Fencing. 120
years after it was first published, it remains an excellent discussion of the
evolution of modern fencing. Of course, in reading Castle, it helps if you try
to keep to one side his patronising comments about the early fencing masters
and the conceited view that by the late 19th century fencing had
achieved its perfect state. To
take Castle's perspective, swordsmen before the 16th century were
essentially brawling thugs with little real skill who relied on having heavier
armour and a stronger sword arm than their opponents to carry them through a
battle. Even the fencing masters
of the Renaissance were rated as men who taught their own collection of
'tricks' while gradually carrying fencing along to a more scientific view.
There are some respected and deadly fighters in the SCA today who would surely
take issue with this view, and their continuing efforts to develop their
skills are in fact taking them back beyond Egerton Castle's starting point,
as earlier teachers and manuals help them to better understand how it all
works. But rather than be as patronising, and say that we in the SCA today
know more than Castle did, I think it's fairer to say that we have a greater
store of knowledge to draw on, with unimagined access to fencing and combat
manuals going back centuries.
Consider that a fencing
student in the 16th century learned "the true art" from his
teacher, including trade secrets that may have come with an injunction not to
reveal them to others. At some
stage, they might have been fortunate enough to receive instruction from other
teachers, or had access to published fencing works.
Over time, those who became masters would have refined their thinking
into their own style, and passed this on as the "true art". By comparison,
to learn 16th century fencing in the SCA, you can sit at a desk and
within minutes have access to manuals from a handful of masters, from
different countries, espousing different approaches, in the original, in
translation or, best of all, interpreted by another fencer who has put in the
effort to work out what the master meant in modern terms. As a result, the SCA
fencer can develop an armoury of fencing technique that crosses the styles of
various masters; indeed, we are encouraged to do so in the Guild of
Defence, where Prizes at the senior levels are judged in part upon a candidate's ability to play in more than one style.
Our approach to fencing,
and the great knowledge we have at our disposal, does present challenges.
As we adopt, and adapt, the old masters' styles to our own needs
students have to be conscious of not learning so much that our fencing style
truly does become nothing more than a collection of 'tricks' picked up here and there.
A system can be enhanced, or it can work in concert with another
system, but it must remain a coherent system.
Masters and teachers,
on the other hand, must remain aware of the needs of their students.
It is possible, and practical, to become a competent and effective
fencer employing the teachings of a single master.
Employing the teachings of more than one master can certainly enhance
fencing ability, but we risk overloading students if we draw on the range of
resources at our command and seek to push them too far, too soon.
References:
Castle,
Egerton, Schools
and Masters of Fencing, Dover
Publications, 2003
Hutton,
Alfred, Old Sword Play, Dover
Publications, 2002
There
are many excellent Internet sites that cover di Grassi's work, notably:
www.musketeer.org/manuals/diGrassi/contents.htm
www.kismeta.com/diGrasse/
http://www.aemma.org/onlineResources/diGrassi/digrassiHome.htm
(you must be a member to use this site)
Rapier
Training Guide ~ Part II
By Provost Piers of
Malmesbury
In
the previous issue, Provost Piers outlined the first two lessons in a program
to help the student combatant train towards basic authorisation in rapier in
Lochac.
Lesson
3 covers alternate grips, offline attacks, disengages, trades and
parry-riposte motions.
Lesson 3:
Revise
briefly lessons 1 and 2 for about 10 to 15 minutes. Use this as a warm up.
Alternate
Grips
The grip described in lesson 1 is by far the
most common, however there was no particular restriction on grips. Use
whatever works. Three of the more usual variations are given here.
Firstly, instead of wrapping your index
finger around the ricasso and quillons, extend it along the back of the blade.
This means that when you thrust at an opponent you are pointing an extended
'finger' at them. It is weaker in all lateral motions and parries, but can
add power and control to a thrust, especially a thrust directed downwards.
Most commonly held in seconda. It will also alter the line of a thrust
as compared with the standard grip, although not by much.
Second,
wrap your fingers around the grip, with no finger over the quillons or ricasso
(a fist) then extend your thumb along the flat of the blade (a 'thumbs up'
grip). This is a very solid grip for warding attacks below the waist and
allows for very powerful attacks from the high ward in prima. It is
weaker against lateral pressure, so is not good for any cutting attacks.
A
variant of this is to grip the sword near the pommel, so the thumb is extended
along the grip, not the blade. All advantages and disadvantages are the same,
however you sneak a few centimetres more length.
Finally,
sit the pommel in the palm of your hand and wrap the last two fingers around
it. The thumb is extended along the grip (on the edge side this time, not the
flat), and the other two fingers hold loosely to control the weapon. This
gives an extended grip (maximum length forward) and is quite comfortable to
hold in quarta. It also enables a high ward to be held in seconda.
Off
line Attacks
An off line attack is any attack which is
delivered from a line not to your front. A simple example is a thrust from the
broad ward.
An example of an offline thrust. Stand
in low ward, but allow your point to drop until it is facing your trainee's
right shin or foot. Your off hand should be in a chest ward, but low, near
your belt. You are inviting a thrust to the chest or face. The trainee thrusts
slowly at your chest. Bring your sword up into broad ward position at the same
time as you make a slope pace forward to the left. Your off hand may come up
behind your blade to add strength and control to your parry as you collect
your trainee's blade and push it aside (half-swording). At the end of this
motion you will likely be standing almost at right angles to your trainee with
your sword held almost parallel to your shoulders with both hands (the off
hand on the blade), and the trainee's blade held out. From here you use the
strength of your position to slide the point of your sword into the trainee.
Almost any voiding step they make can be followed from this position, usually
with a lunge.
Being
able to attack off line is very useful, however it is important to remember
that when your sword is off line, it isn't protecting you. This places
greater 'responsibility' on the off hand. Remember that the off hand can't reach as far as a sword, and this will impact on
'measure'.
Parry,
riposte
The
modern interpretation of parry riposte is not present in period manuals as it
implies two separate actions. Technically, a riposte is an attack from the
ward or parry, rather than an attack after a successful defence. The
difference is more than one of semantics, if you successfully beat (hard
parry) a thrust and come back on guard, then seeing that your opponent is
still out of position you thrust, you may not be under direct threat but they
are still free to parry, and because you have taken an indirect route to the
attack (from parry to guard to thrust), they have a good chance of success. Di
Grassi's comment that "every motion takes time", and that he who is
closer hits sooner gain their true meaning here.
Despite
this, the motions themselves do form an integral part of period rapier
practice. The difference is that in period the 'displacing' motion (parry)
is part of the preparation for the actual counter-attack. This may seem like
so much 'double talk', but it is different to the modern fencing
understanding of the term.
A
parry/riposte of the above situation would be to beat the thrust aside, and
from your gained position (remember lesson one, in executing the parry the
hind foot comes forward half a pace) thrust directly from there. Your sword
point, being on the inside line, is closer to your opponent than theirs is to
you. You have the advantage of position AND of time. You don't need to come
back on guard if they are not in position to attack. If you aren't sure, you
can always interpose your hand in a 'warding' motion.
Practice
hard parries and ripostes from ward. If possible, try to use all seven of the
wards as described in lesson 1. The reason for this is that the position of
the hand (pronation, supination) determines the range of motion your
hand can make from the position it ends up in. Then, to be thorough (or mean),
do them left-handed. Hard parries used this way are best supported by passing
off to the off-hand. Once the sword has been knocked aside, keep it out of
line by having your open hand between you and the blade.
Now
do it all again with soft parries. This is where hand position makes a real
difference. To demonstrate; have someone make a slow thrust at your left hip
while you stand in guard (offensive). Slowly soft parry the thrust in prima
(with the thumb down). Having engaged the blade, what are your options?
1)
Pass
off to the off hand, recover your weapon. The straightest line for your sword
is a thrust at the foot or a draw cut of their sword arm. The void motion is a
straight pace.
2)
Circular
parry to carry their blade around you to your right side, outside the line of
your body. Void pace is a slope pace left. You can stop when the blade reaches
terza or quarta where you drop the point and thrust at their face, pushing
your sword hand over theirs (and thus pushing their sword up), or
3)
Continue
the circle until you reach the low ward or push out to the broad ward position
and thrust in as above, keeping their sword outside your line.
(Don't
let them get ahead of you here... of course they can pass off and counter parry
and get very messy... leave that for the practice bouts)
Now
try the same exercise again, but this time, parry the low thrust in quarta.
You'll notice that the circular parry won't work, as your wrist won't
turn that way. Instead, thrust from that position at their belt line, holding
their sword outside the line so it can't hit you. (an off line attack). This
time the first preferred void is a slope pace left as it will help bring the
sword on line.
While
this may seem to encourage a separation of actions between defence and attack,
it is only to demonstrate in an exaggerated manner the ideal method of attack.
Later, as the trainee gains experience, coach them towards blending the two
into a single motion, such that their attack incorporates a parry (ward) and
so protects while attacking.
Disengages and Trades
Like
the parry/riposte, a disengage is not a period move 'in isolation'.
It isn't really the same as a trade, although the actual physical motions
are almost identical. The difference is mainly in the tactical application. A
disengage is where you perform a motion designed to avoid contact between the
blades. In short, where an opponent seeks to 'engage' your blade through a
soft parry or hard parry (to knock your weapon off line), you avoid that
contact by moving your sword out of the path of their motion, then bringing
your point immediately back to position. A trade, which is probably the
closest period equivalent, is where you move your blade from the inside line
to the outside, or vice versa. While it may sound like the same thing, the
difference is that a disengage is largely a separate defensive or preparatory
move prior to an attack, whereas the trade is the opening move of a counter, whether that be an attack or a void.
There
are two types of disengage, a circular and a vertical.
The vertical disengage is a simple flick; from the low ward
position, where the point is aimed slightly up at the opponent's face,
should they try to move your blade aside by moving hand or sword across your
line, simply drop the point to let the attempt move over, then quickly lift it
back up to position. (e.g. you are in low ward. Opponent attempt to engage your
blade by making a lateral parry from low ward to 4/Quarte. You perform a
vertical disengage, down then back up, letting the tip come back up. You may
attempt a thrust from here, but I'd recommend taking a broad ward approach
and attacking off line, as this will keep their sword out of the way)
The
circular parry is a circular motion of the tip following the line of the
opponent's attempt to engage. To explain; in the circumstance given above,
an engage from low ward to quarte, a circular disengage would have to roll
clockwise and down, to pass under the opponent's blade and come back to
position. If they perform an engaging move back, your circular disengage would
be counter-clockwise and down, passing under and coming back to position on the
other side.
If
you gain the place of your opponent after a disengage, you may attack. How
this differs from a trade is that the trade is made as a part of the
void action to keep the sword free and to establish a new line. An example of
a trade is while standing in low ward (sword held in terza, if a thrust
is made to your chest you may either slip pace forward with the left foot,
bringing it behind the right, and at the same time rolling your sword hand out
into seconda. This makes the sword follow a corkscrew path to the
target, effecting a disengage motion at the same time it establishes an
offline attack. The alternate move is to slope pace left, rolling the hand
into a thrust from quarta as you move. This effects a circular
disengage to the right, avoids the enemy sword and allows a new direct line
to be established.
A
trade must be accompanied by a void motion with the feet to avoid counters
from your opponent. The trade was called cavazione.
Exercises,
lesson 3
For
this lesson, encourage experimentation with the alternate grips, and run
through some simple encounter drills that will encourage movement and allow
the trainee to start stringing together elements. Aim for a fluid
assembly of motions into a sequence, and try to ease them out of any tendency
to do one motion then stop or return to guard. Any time they end up locked in
a wrestling match is a failed attempt (for both). The aim is to stay mobile
and to have options!
Lesson
4 will cover judgement and tempo, fighting from the ground and a grounded
opponent, and parrying gauntlets.
Lesson 4:
Briefly
revise lesson 3 and use as a warm up for 10 minutes or so.
Judgement
This
is a difficult topic for many trainees as it can be viewed as very academic.
There is a tendency amongst beginners to seek 'linear solutions' (if they
do this, you do this), but the options are much broader than that, and the
decision as to which option you take is largely determined by judgement. Tempo
is one of the major deciding factors in judgement. Most people equate
tempo with a 'beat' or 'rhythm', but it is actually a 'time segment'. In fencing, an attack
'in tempo' means that you have time to
make your move and safely withdraw before your opponent can effectively
counter. To do this requires gaining the better position of your opponent (the
'place') and being ready to take advantage of that position. To my mind,
the clearest holistic expression of judgement and tempo is given by
George Silver in his "four grounds":
"The
four grounds or principals of that true fight at all manner of weapons are
these four, viz. 1. judgment, 2. distance, 3. time, 4. place.
The
reason whereof these four grounds or principals be the first and chief, are the
following, because through judgment, you keep your distance, through
distance you take your time, through time you safely win or gain the place
of your adversary, the place being won or gained you have time safely either
to strike, thrust, ward, close, grip, slip or go back, in which time your
enemy is disappointed to hurt you, or to defend himself, by reason that he
has lost his place, the reason that he has lost his true place is by the
length of time through the numbering of his feet, to which he is out of
necessity driven to that will be agent.
The
4 governors are those that follow
1.
The first governor is judgment which is to know when your adversary can
reach you, and when not, and when you can do the like to him, and to know by
the goodness or badness of his lying, what he can do, and when and how he
can perform it.
2.
The second governor is measure. Measure is the better to know how to make
your space true to defend yourself, or to offend your enemy.
3. 4. The third and forth
governors are a twofold mind when you press in on your enemy, for as you
have a mind to go forward, so must you have at that instant a mind to fly
backward upon any action that shall be offered or done by your adversary.
" George Silver
To
follow this through; the first ground is judgement, or through observation and
experience you know what your opponent's range is, and what yours is. With
this knowledge you keep your 'distance'. This doesn't mean you stay out
of range, but means you may have the 'measure' of your opponent (misura
larga, misura stretta, etc.). Distance allows you to 'control
time', in that you know how long certain actions will take from this measure.
This is the first key reference to tempo. The second reference is in the
fourth ground of 'place', which is the gaining of a positional advantage
over your opponent. Gaining such an advantage is easy, doing so with you sword
free and ready to strike is much harder.
The
four governors that moderate the four grounds are all facets of tempo, in that they are the
'reality check' for potential and
possibilities. Do you actually have time to pull off that fancy move?
To
practice this and explain it further to trainees, have them do some
hypotheticals in slow work. Face them off, and have each one make a
single move in turn. The opponent may counter as they see fit. From each
position, let them decide what they would do or try as an option. Keep the
exercises to simple passes, because they have to remember them. Have
them go through it again at pace to see if they can really manage it. Of
course it's harder when the opponent knows what's coming, but it can still
serve as a useful illustration.
Fighting
from the ground and Fighting a grounded
opponent
The major cause of difficulty in fighting a
person who is grounded is brought about by simple dynamics. Most people find
it easier to fight with the sword angled upwards in their grip, so most
attacks will be above the waist (especially with beginners). When an opponent
is grounded, all attacks will be initiated from below waist level, so the
standing person, in defending themselves, will need greater reliance on their
ability to ward their legs, hips and stomach area. The most common ward has
the sword in terza, which is the least suitable for warding low attacks.
Prima, seconda and quarta are all far more capable in this area.
An
added complication is the altered geometry of the swords. With two standing
fighters, the crossing of swords is quite easy. With one fighter
grounded, the swords are very close to parallel, so warding with crossed
swords is more difficult. As the grounded fighter is unable to void,
their options for defence become quite impaired.
A
grounded fighter is also closer to the lethal targets of their opponent than
the standing fighter is to theirs. This can be simply demonstrated by having
one fighter grounded and, using equal length swords, have them extend arm and
shoulder in a full thrust (without leaning forward) towards belt height. Have
a standing fighter approach until the grounded fighter's sword touches their
belt, then have them extend their sword in an arc to see what they can reach.
In most cases they will be lucky to score a touch on the face, which should be
the closest lethal target.
The
final complication is that a grounded fighter still has use of the off hand
for parrying, while the standing fighter in most cases will not be able to do
the same. To make matters worse, it is very risky to attempt a ward against a
low line attack and 'pass off' to the offhand as it will almost inevitably
require the standing person leaning forward, where the grounded person may
disengage/trade and thrust at the face that is now so invitingly close.
The
unfortunate truth is that against an inexperienced fighter, being grounded has
tactical advantages.
So
what to tell the trainee? From a standing position against a grounded
opponent, let them adopt a standard low ward with the sword in terza,
in the Misura Larga measure (see lesson 1). From this position they
extend their arm and drop the tip along the inside line (staying to the right
of their opponent's sword) then 'trade' into either prima or quarta.
If they chose prima, they should bring the left foot straight up behind
their right, rotating their body slightly to the left, which should interpose
their sword with their grounded opponent's. From here they may thrust
downwards, using a short step with the right foot if needed, maintaining the
pressure on the opponent's sword and keeping it offline. If they chose quarta,
the left foot moves through a slope pace left and forward, again engaging the
opponent's sword and allowing a thrust from position. These are two simple
options to demonstrate the mechanics of the altered positions, enough to get
them over the "I don't know what to do" stage.
If
they are grounded, they cannot move. This places much greater emphasis on
defence with sword and hand. As the opponent is likely to want to tie up their
sword (given the greater reach to lethal targets for the grounded person),
hand parries or rapid passing off and trading is the order of the day.
For a beginner, being the grounded one is usually easier than being the
standing one.
Parrying
gauntlet
The parrying gauntlet allows a safer control
of an opponent's blade using the offhand, compared with an open hand. A
fencer may be more proactive when using this equipment, interposing the hand
between themselves and the opponent's blade as a small shield. In many
respects, the parrying gauntlet is an ideal primer for buckler use later on.
Encourage the use of backhand motions with the gauntlet as this allows more
freedom of motion and discourages the trainee from becoming fixated on
'catching' the blade, although an open hand pass to the left side will
make a recovery more difficult for the opponent. Simply run through several
parrying exercises again but this time use the gauntlet (or assume there is
one for training purposes).
Final
After all this, the trainee should be capable
of undertaking full bouts with a good working knowledge of safe weapon usage,
basic advances, retreats, stance changes and lunges, parries by rapier and by
offhand, proper use of distance and voids, have an ability to attack using
thrust and cuts, have proper calibration of thrust and cuts, right and left
handed. They will also be able to fight from the ground, and fight someone who
is grounded, respond properly to a hold and demonstrate knowledge of the
difference between offhand parries with and without a parrying gauntlet. In
other words, if they have a working knowledge of the rules and equipment and
armour standards, they should be able to pass an authorisation test.
At this point, allow a series of practice
bouts as preparation for that test. Things to look for are reactions to a
hold, how they take hits, whether they are able to control the weapon in a
tourney situation. Some marshals in Lochac especially seek to press the
trainee with very fast and aggressive attacks to see what the trainee's
first reaction is under pressure. The idea is to see whether the trainee's
first instinct is to lash out in self defence. This is not a desirable
response. Hiding, running away, or ideally fighting back and countering are
all fine. The key is safety. As long as they can meet the requirements of
authorisation as laid out, and are not a threat to the safety of themselves or
anyone else, they should pass.
Subscription
Information
Punta
Dritta is the newsletter of the Royal Guild of Defence of Lochac. It is
published every six months, to coincide with the 12th Night and Midwinter
Coronation events. The contents remain the property of the respective authors.
Please contact the editor if you wish to reproduce anything found in the
newsletter.
Punta
Dritta may be downloaded for free from www.sca.org.au/rapier/PD_index.htm.
The
contact details for the Editor are:
Steve
Pye
Provost Secretary
37 Fellows St
Latham ACT 2615
Australia
Email: owain
AT homemail DOT com DOT au DONT SPAM ME
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Created: 15 July 2007
Last Modified: 15 July 2007 |
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