Fencing Literature

There have been many books written on fencing, excellent ones and others which, though interesting, are less memorable. I wold like to briefly review and strongly recommend several "armchair" fencing books, not treatises on the art per see, but of interest to fencers or any xiphophiliac in general.

I. Sentiments of the Sword, by Sir Richard

Francis Burton.

Sir Richard Francis Burton was a famous Victorian explorer, linguist, and a great devotee of swordsmanship. Though The

Sentiment of the Sword is not as well-known as another of his writings, The Book of the Sword, in many ways I consider the former to be much more interesting. The book is set in the form of a smoking-room dialogue between several upper-class, sophisticated Victorians, who over the course of nine evenings discuss assorted aspects of fencing, centering on the sword's development and its use through the centuries. Though the prose is Victorian and interspersed with French and Latin phrases, Burton's deep knowledge of swordsmanship shines out, making this an invaluable text for understanding Victorian era fencing.

Attatched is a link to an online copy of Burton's book: http://ejmas.com/jnc/jncart_burtonsentimentswordcontents_0300.htm

II. Les Secrets De L'Epee, by Baron Cezar De Bazancourt.

The "Secrets of the Sword" was written at a time when the norm

s of academic

foil fencing were being challenged by the introduction of epee as a fencing weapon. Bazancourt's text is an amazing insight into the revolution of fencing thought that hit late 19th century France. Also set in the form of a smoking-

room dialogue, Les Secrets De L'Epee considers three types of fencing: "graceful athletic exercise...exact science...and practical self-defense" (William M. Gaugler). The contrast between dueling swordplay and academic swordplay is the main focus of "Secrets", in particular the question--of high concern among

fencers at the time--of whether or not epee fencing would render the foil obsolete. If you want to understand why we have both foil and epee in modern fencing, this is the book to read.

III. The Secret History of The Sword, J. Christopher Amberger

Mr. Amberger has put together a delightful compendium of excerpts and

commentary related to European combatives, from the ancient world to the

present. This book is not so much a straightforward history of fencing as much as a tour through some of the most fascinating aspects of western fighting arts. These include firsthand accounts of German mensur duels by the author, an exploration of Greco-Roman combat, Renaissance prizefights, and especially a look at the origins of modern sabre target. I highly, highly recommend this book to all who are interested in anything even remotely related to swords. I would also recommend Mr. Amberger's blog:

http://fencingclassics.wordpress.com/

IV. On Fencing, Aldo Nadi.

Okay, this is a fencing treatise. However, it is probably the most complete treatise on classical foil fencing that has ever been penned, and was written by one of the greatest fencing minds of all time. Aldo Nadi's words ring with mastery, on a par with Miyamoto Mushashi's Book of Five Rings. I cannot recommend this book highly enough. Read it! More than once!

V. The History of Fencing, William M. Gaugler

If nothing else, Maestro Gaugler's work is definitely the authoritative text on the development of modern European fencing. His prolific scholarship has, in a single volume, covered more than five hundred years of fencing thought, from Achille Marozzo in the 16th century to Giorgio

Pessina in the 20th. This work examines major fencing treatises of each century, examining the development of technical expertise as well as the slow change in fencing from duel to sport. Each text is systematically described, on to the last detail, and while some may not enjoy reading The History of Fencing for long sittings, it is a handy reference to the major developments in the art and science of swordsmanship. Maestro Gaugler's work is an excellent summary of the teachings of great masters of the past, and aids us in understanding where we came from and where we are as fencers today.

VI. L'Ecole Des Armes, Domenico Angelo

The eighteenth century produced many great fencing masters, and Domenico Angelo ranked near the top. Born in Leghorn, Italy, Angelo received his certification as a maitre d'armes from the National Academy in Paris. He moved to London and founded Angelo's School of Arms--l'cole des armes--where both his son and grandson taught well into the 1800's. Among his most famous students were the Prince of Wales, later George IV, and Johann Christian Bach, son of the great composer. In 1763 Angelo published his masterpiece, a classic work on fencing which was instrumental in the development of fencing as a sport. L'Ecole Des Armes saw numerous editions, and was extremely popular. The elegance, poise, and grace which were the hallmark of Angelo's style, can be seen clearly in the book, which outlines the basic principles of swordsmanship and then moves on to the more complicated actions, and finally concludes with instructions on dealing with opponents armed with various weapons, such as smallsword and lantern. The finest feature of Angelo's work, in my opinion, are the lavishly illustrated plates which abound in the text. These are worthy of hanging on a wall to admire, as they accurately capture the elegance of fencing as it was in the 1700's.

Via!Hup!

Last October, I was invited by a friend to visit the Fencing Master's Program, located in San Jose, California. This was an opportunity not to be missed,as the FMP is one of a kind: a rigorous training program intended to produce some of the finest Classical Italian Fencing teachers in the world. Founded at San Jose State University in 1979 by Dr. William Gaugler, who holds a fencing master's diploma from the Accademia Nazionale di Scherma in Naples and was trained by such greats as Aldo Nadi, Umberto Di Paolo, and Giogio Pessina. The program's certifications are internationally recognized and endorsed by the Italian Fencing Masters Association.

My experience of the Fencing Master's Program was a positive, if somewhat grueling one. I attended two sessions over the weekend, an hour and a half on Friday night and then five hours on Saturday. The sessions included a brief footwork session which doubled as a warmup, then a division of attendees into teachers and students, myself in the latter category. On Friday night, my instructor was Mr. Jeremy Tavan, who thankfully was patient enough to clearly explain some of the finer points of the Italian system. Earlier that afternoon I had also received a short lesson from Mr. David Cogley, who had been kind enough to invite me down to San Jose. The teaching system of the FMP is based off of the old Scuola Magistrale in Rome, and so is entirely a classical method of fencing, in its turn being based off of five centuries of dueling practice. On Saturday, I received an excellent five-hour lesson in fioretto (foil) and sciabola (sabre) from

Maestro Gary Murray. In addition, I recieved pointers from both the Maestri Sahms. I don't know how many lunges I did over the weekend, but I was definitely sore afterwards. I really enjoyed myself, however, and learned a lot about the Classical Italian system, both in terms of technique as well as the interrelatedness and unity of Italian theory and tactics. Via! Hup!

You'd Have To Be A Little Mad...

Sabre.

What an interesting, violent weapon. Fortunately for modern fencers, the sporting sabre is a lightened version of its dueling progenitor, and so does not really cause bodily harm. It's a bit like fencing with a car antenna, apt to leave you a good welt if you don't parry properly. Though devotees of the foil and epee probably outnumber those of the sabre, there's little doubt that the latter is the most flashy and swashbuckler-like out of the sport's ferrous triumvirate. What makes it so different from the other two weapons?

Well, the main factor is the method of scoring and target area. In sabre, the entire front edge of the y-shaped blade can be used to score, as well as the back third of the blade, called variously the back edge, false edge, short edge, etc. Additionally, the point may be used to score. The target area is considered to be everything above the hipline. The sabre is the fastest of all three weapons, and in fact is the fastest moving object in sports, second only to a bullet.

Personally, the thing I like about the sabre is its swashbuckling appeal, as well as being an extremely interesting game. Don't get me wrong, I enjoy all three weapons, but the sabre is really unique. It requires a certain wildness to fence sabre, to get used to the biting factor that people call the sabre's edge. You have to be at least a little mad to enjoy sabre.

Since the 1980's sabre fencing has been radically changed due to the electrification of the weapon. Like foil in the 1950's, technology has altered the way one approaches a bout. In order to counterbalance the sheer speed of electric sabre, the rules of right-of-way have been mutated to give priority to the fastest fencer, and rendering the parry-riposte obsolete. For an example of electrical sabre fencing click here:

www.youtube.com/watch?v=m-s6tshiz_k

There are still quite a few fencers like myself who prefer the older standard sabre game. In standard competition, one has to demonstrate a clear hit to a jury of four side judges, and so despite the speed of sabre fencing, standard sabre retains the classic phrase d'armes or exchange of blades. Both fencers strive to gain right-of-way, and when the fencing is clean and clear it is quite aesthetically beautiful. Here's a couple examples of good old-fashioned standard sabre fencing:www.youtube.com/watch?v=0he1WjgBPhQ

and this: www.youtube.com/watch?v=79EsZgZFZqA

and finally for a contrast between dueling sabre and sporting sabre styles:

www.youtube.com/watch?v=loluky6-8Jk

Anyway, there's some of my thoughts about sabre.

Good Fencing!

Fencing: The Argument

"It is particularly incumbent on those who never change their opinion, to be secure of judging properly at first." -Pride and Prejudice

If you've read my post on the trends of modern fencing, this article will make some sense.

If you haven't, read it: http://sentimenttodiferro.blogspot.com/2009/12/fencing-is-really-romantic-sport.html.

This understanding of Postmodern/Electrical Fencing, Modern/Classical Fencing, and Classical/Historical Fencing is a relatively recent division. Up until the 1950's there was just "Fencing". With the advent of the electrical foil for competitions, the traditional, visually-judged standard foil game became relegated to beginner's tournaments. It was (and is) thought that learning standard foil not only gave one a solid discipline in clean and effective fencing, but could also serve as a bridge to studying its electrical cousin.

The discipline needed to demonstrate a visually-clear touch in standard foil fencing puts more emphasis on form and phrase, on "clean" fencing. This is a wonderful game in itself, and recently has been revived,

though with varying approaches.

As a side note, the standard foil is also referred in the U.S. as a dry or practice foil, while in the U.K. it is given the quaint name of "steam foil", a semi-snub referring to the old days of steam (perspiration) power before the advent of electrification. Perspiration hasn't been rendered obsolete yet.

A Standard foil bout. Note the judges.

As much as I like the standard foil game--and sabre for that matter--some people take it far too seriously. Some classical/historical fencers treat fencing as a martial art, with absolutely no sporting connotations, and go about training for the hypothetical duel they'll never have. I do not agree with this overly bellicose view. Fencing is a martial art, but in contemporary times it is also and inescapably a sport. Yes, fencing was originally training for a duel, and when dueling died out, the sport of fencing was left. I think standard foil, just because it is older retains more elements of the duel than electrical foil, such as side judges (originally the duelists' "seconds"), and an overall more defensive, technical approach to the bout. However, the proponents of the electrical game and the standard game should not be at odds with each other. It's a bit like volleyball. There's indoor volleyball and beach volleyball. They're almost identical, but with enough

differences to have two distinct versions of the sport. You might prefer one over the other, but that doesn't necessarily mean the other version is anathema. Besides, ultimately it is not the technology that matters. You will have to adapt technique to whether you are fencing standard or electrical, but the short-term tactics and long-term strategies of fencing is equally as important in both. Again though, you might prefer one over the other. Either way have fun. Don't take yourself too seriously.

Good Fencing!

p.s. The term "classical", until recently, referred to the traditional European approach to teaching fencing. It is still used in the best fencing schools, though slightly adapted to the faster pace of modern fencing. There are two great classical schools, the French and Italian. Nowadays, the two schools have blended into each other, creating the modern international style.

History of Right-Of-Way

Foil fencing is governed by certain conventions, commonly called "right-of-way". These conventions lead to a logical sequence of play, or phrases d'armes, in which both fencers attempt to control the priority of the actions and hit. The rules of play for foil fencing originally were intended to demonstrate a logical method for the practice of dueling swordplay in the late 17th century. One can see the beginnings of this concept in literature contemporary to the period, such as Moliere's Le Bourgeois Gentilhomme (1670), in which the inept Monsieur Jourdain attempts to learn fencing from a master of the classical French school, who berates our hero thusly:

How many times must I repeat this? The secret of successful swordplay is to give and not to receive. As I proved to you at the last lesson, by a process of demonstrable logic, it is impossible for you to be hit so long as you know how to deflect your opponent's weapon from the line of your body. This you achieve with the smallest flick of the wrist, either inside or outside. See?"

However frustrated and snobbish Moliere's maitre d'armes may seem, he is actually giving his bumbling student a relatively modern lesson, trying to explain concepts of fencing through "demonstratable logic". Amusingly enough, when M. Jourdain attempts to show off his new-found fencing skills, he is soundly trumped by his acerbically-tongued maid, Nicole.

Ultimately, whether in the 17th or in the 21st century, the foil has been and will certainly always be an academic weapon. It was never intended for combat even in Moliere's time, but served instead as a training tool for the dueling sword. The blunt point of the foil made it possible for fencers to practice swordplay safely, a factor which was furthered by the introduction of the wire mesh mask in the late 18th century. With the foil and the mask, fencing masters and their students could easily hone technique in a more realistic manner than had been possible in the previous two centuries.

A Bout in 1760 in the Salle of Domenico Angelo.
(Note the elevated arm of the attacking fencer as well as the rather rotund man being helped into an early mask.)

Before, fencing was conducted in an extremely academic fashion that took into account the safety of the participants. Attacks were conducted with a highly elevated arm, as to avoid hitting one's partner in the face, and a defending fencer could riposte only when their opponent had fully recovered to guard. The foil target was limited to the front half of the torso from neckline to hipline, a convention which heralded the origins of the modern foil target. This choice of target was a logical place to attack during a duel: a thrust to any vital organs would be fatal, while a thrust to the musculature of the arms or legs may not necessarily end the encounter.

With the invention of the mask in the 1760's by La Boessiere, a French master, these academic considerations were rendered obsolete, despite the protests of many fencers, who felt that the mask would impede the classical beauty of fencing and introduce a brood of "pokers", fencers who ignore the earlier conventions of foil and simply attempt to hit regardless of the cost. The bias of being Europe's greatest swordsmen also influenced the more conservative fencers' views on the mask as being only fit for those without enough control over their weapon.

So it was in the early decades of the 19th century that the foundations for modern foil fencing were truly established. Foil being an academic weapon, it was only logical that a set of rules would be created so that fencers would understand the underlying concept of fencing: "to hit and not be hit". Without it, amateur fencers would indeed be "pokers", relying on an I-hit-you-first method rather than taking into account the theory that they are handling needle-sharp dueling swords. This consideration was a point of concern for many fencers, who felt that making foil fencing "too safe" would destroy the foil's use as a training weapon for the duel. Even with the developing concept of "right-of-way", some fencers went to new extremes and abandoned the foil altogether, preferring to use a blunted version of the dueling sword, or as was known in France, the épée.

Foil Fencing in the 19th Century

By the 1870's, there was a split in the fencing world. New schools of fencing had arisen, especially in France. Unlike in Italy, where the gap between practice sword and dueling sword was not very great, the French regarded fencing as two very different things: academic foil fencing and practical épée fencing. Fencing épées resembled their dueling counterparts with the
absence of a sharp point. They were equipped with a large circular hand guard and had triangular-sectioned blades, ending in a three-pronged coronet known as a point d'arret, which would snag on a target, reflecting the first blood rule in a épée duel. As for foil, many felt that it had degenerated into a purely theoretical weapon, even to the point of pedantry. For example, fencing strips were often just long boards laid down, and some masters had students work on academic trivialities such as the "Grand Salute". Things were about to change though.

In the last decadent decades of the 19th century, fencing saw a boom of international interest in competition. Beginning in the 1870's with professional matches between fencing masters known as "assaults-at-arms", these demonstrations often featured European champions from different nations. When Italy reached a state of national unity in 1861, the creation of a national school of fencing was a direct result. Italian fencers traveling beyond the Alps challenged French masters to prize fights, such as that between Aurelio Greco and Lucien Merignac in the 1870's. Though many well-known European fencers, including Greco, engaged in duels up until the 1930's, the duel had begun to die out, and after World War I it was almost entirely extinct. Fencing endured, however, in its sporting form, and in 1896 was included as one of the original events of the modern Olympics. Interest in amateur fencing had begun to grow in the late 1800's, and only increased in popularity when in 1913, the Federatione D'Escrime Internationale or F.I.E. was founded as the international governing body for the sport. With the new international rules for fencing, modern foil saw its final stages of development in the concept of "right-of"way".

French and Italian Fencing Masters (Amberger Collection)

By the turn of the 19th century, the developments in fencing had caused many to reach a mutual decision regarding the relationship between the foil and the épée. The final ruling was that the foil was an academic weapon that taught one the basics of fencing technique, theory, and tactics, while the épée was required a different understanding of tactical use owing to the entire body being target. Essentially, the foil replicated ideal combat, held in check by the agreed-on conventions of "right-of-way", while the épée replicated actual combat with the exception of bodily harm. The only issue left to settle in foil was the agreement of a common target area.
Modern Foil Target (Note: the bib is incorrectly shaded as off-target)

In the 18th and early 19th centuries, fencers wore padded plastrons for protection against a firm thrust, and it was into the 1870's that the tradition of only hitting the front side of the torso from neck to hip lasted. With the creation of the sporting épée and the growth of first professional then amateur fencing, the target for foil was furthered to include the entire torso from neck to hip. In France, however, the upper sword arm was counted as well. This led to debate among French and Italian fencing teams, the latter whom had withdrawn from both the 1912 and 1924 Olympic foil events because of controversy over accepted target. Aldo Nadi, the great Italian fencer of the 20th century, complained about this French bias in his famous bout with Lucien Gaudin in 1922. Later, by the 1928 Amsterdam Games, foil target was finally accepted by both nations as being the entire torso, neck to hip, front and back, including the padded area of the mask bib. In the 1940's, the groin target and was also declared by the F.I.E. as legal target in Men's fencing.

By the 1950's, with the development of the electrical foil, the groin target was also added to Women's fencing, while in both the mask's bib became off-target due to technological difficulties in electrification. These changes only reflected the technological changes in fencing of the era. In standard foil, the bib is still counted as valid target. The rules for foil fencing formulated in 1913 by the F.I.E. have been subsequently developed and revised throughout the years, owing to several factors, most recently due to the electrification of foil. Though right-of-way differs somewhat in practical interpretation between standard and electrical fencing competitions, the concept of a logical system of swordplay, meant to teach fencers the old maxim "to hit and not be hit" is still as valid as it was in its time of origin.


Good Fencing!

Types of Fencing

Fencing is really a romantic sport, originating in the duel of honor and gradually transformed into an intellectual game of outwitting your opponent.

Modern fencing, in both its traditional and electrical forms, is a continuous source of enjoyment and discipline. A few hours of fencing a week keeps your body relatively fit and your mind sharp, perfect for the fast modern lifestyle.

Over the past fifty years or so, there has been a split in the fencing world. Largely centered in the United States, a minority of fencers has broken away from the dominant style of electrical fencing run by the US Fencing Association. They are interested preserving the grand old tradition of pre-electric or standard fencing, and only recently have smaller organizations formed associations dedicated to the standard game. However, not all of these traditional fencers are in agreement.

The following definitions of fencing are provided by the American Fencing League.

Fencing, the art and science of swordplay, consists of three main areas:

• Postmodern (electrical) fencing
• Modern/classical (standard) fencing
• Historical/classical fencing

Post-modern fencing is the purview of the US Fencing Association (USFA) and theFederation Internationale d'Escrime (FIE), the two governing bodies for national and international (respectively) competitive fencing that is electrically scored. This is the type of fencing that is featured on cable sports channels such as ESPN2 on rare occasions in this country. It is also the type of fencing that is done at the Summer Olympics every four years. It is very fast and very athletic. The weapons used are the foil, the epee, and the saber.

Historical/classical fencing is practiced by a number of small groups all over the United States and in other countries as well. The weapons used vary widely, but include rapier, broadsword, sword and dagger, single stick, and others, as well as the foil, sabre, and epee. The approach is that of a martial art -- not a sport -- supported by research into past fencing practices. Competitions are unusual. The closest thing to a governing body is a fledgling organization called the Association for Historical Fencing (AHF). The Society for Creative Anachronism (SCA) also engages in historical fencing (with degrees of historical accuracy that vary widely). Historical fencing tends to be slower and more deliberate, with a heavy emphasis on bladework and form. The period covered by historical fencing ends roughly in 1900.

Modern/classical fencing is practiced by an increasing number of fencing clubs throughout the United States. Because "classical fencing" increasingly refers to 19th-century historical fencing, we are beginning to use the term "modern fencing" and "standard fencing" to (hopefully) avoid confusion. The governing body of standard fencing is the American Fencing League (AFL).

Modern fencing is both a sport and a martial art, with roots in the traditions of European dueling. It supports both competitive and purely recreational fencing. The pace of modern fencing, which de-emphasizes pure athletic ability, is somewhat slower than postmodern fencing, but faster than historical fencing, making it an excellent spectator sport. And modern fencing is a great aerobic, co-ed activity that can be participated in by people from age 12 to 60+.

The weapons used are the standard (non-electric) foil, saber, and epee, as well as the electrical epee. The rules are similar to those of post-modern fencing, with the main exception being the scoring system. All scoring is either on the honor system (recreational) or by a jury (competitive) -- no electrical scoring apparatus is used, except in epee. There is a strong emphasis on form and clarity. The principle of right-of-way (or the priority of touches) is strongly maintained. Touches must be made in a manner that is consistent with the use of a sharp weapon -- even though the weapons are blunt.

In short, modern fencing is fencing from the first half of the 20th century blended with the knowledge of the second half of the 20th century. It is a different sport from postmodern fencing, with different rules and a different mindset. Modern fencing does not attempt to recreate a bygone era. Instead, it firmly maintains its roots in history, while simultaneously looking forward.

Personally, I prefer the middle path. I appreciate electrical foil (electrical sabre me no likey), as well as the study of historical weapons, but overall I go with what I was originally taught.

Good Fencing!

Sentiment Six: Twelve Swashbucklers Every Fencer Should Read

1. The Three Musketeers, Alexandre Dumas.

D'Artagnan and his three comrades tangle with Cardinal Richelieu and Milady's fiendish plots.

2. The Scarlet Pimpernel, Baroness Emma Orczy.

The daring Scarlet Pimpernel rescues French aristocrats from the guillotine during the Reign of Terror.

3. The Prisoner of Zenda, Anthony Hope.

Rudolf Rassendyll is forced to play the King of Ruritania while rescuing the real one from kidnapping and murder.

4. The Mark of Zorro, John McCarthy.

The Masked Zorro defends the poor and oppressed against the tyranny of the Spanish California's aristocracy.

5. Scaramouche, Rafael Sabatini.

Andre-Louis Moreau learns fencing, among may other things, in order to avenge his friend's murder by the sinister Comte La Tour-D'Abzy.

6. The Princess Bride, William Goldman.

Fencing, Fighting, Torture, Revenge, Chases, Escapes, Wild Beasts, Giants, Miracles, True Love.

7. Captain Alatriste, Arturo Perez-Reverte.

Mercenary Captain Alatriste versus the Inquisition and assassins in 17th century Spain.

8. Captain Blood, Rafael Sabatini.

The Adventures of an English doctor who is taken as a slave to Jamaica, escapes, and becomes a feared pirate captain. Argh!

9. Zorro, Isabel Allende.

The origin story of the masked hero, mixed Spanish nobles, Indians, and Pirates.

10. The Fencing Master, Arturo Perez-Reverte.

Don Jaime, an old honor-bound fencing master, is searching his whole life for the "Unstoppable Thrust". Unknowingly, he is thrown into a murderous political plot when he agrees to teach a mysterious and talented woman.

11. Kidnapped, Robert Louis Stevenson.

Davie Balfour is sold by his wicked uncle, kidnapped by smugglers, and rescued by a rebel Jacobite.

12. Peter Pan, James Barrie.

The eternal youth who lives in Never-never-Land and battles villainous Captain Hook.

Apparently, is can't be a good swashbuckler without a duel or two, a pretty face, some several wicked plots or so and something to do with Spain, pirates, or the aristocracy. Have fun reading, and may these be inspiration for your fencing.

Good Fencing!

and read the books, don't just watch the movies.