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Difference between revisions of "Peloquin"

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(Copying Reinier van Noort's translation over. Part 1.)
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| [http://www.bruchius.com/docs/Peloquin%20translation%20by%20RvN.pdf Text to copy over]
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| [http://www.bruchius.com/docs/Peloquin%20translation%20by%20RvN.pdf Text to copy over] '''Practice of Fencing with the Sword and dagger. Once composed by Monsieur Péloquin Captain and one of the four first<ref>An alternative translation of “premier” could be “foremost”</ref> fencing masters of France.'''
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Poverty prevents good minds from succeeding.
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| '''[1r] Cabinet d’Escrime de l’espee et poingnardt, composé jadis par Monsieur Peloquin, Capitaine et l'un des quattre premiers maistres d'escrime de France.'''
 
| '''[1r] Cabinet d’Escrime de l’espee et poingnardt, composé jadis par Monsieur Peloquin, Capitaine et l'un des quattre premiers maistres d'escrime de France.'''
  
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| To the very great and very illustrious Prince, Monseigneur the Count Maurice, Prince of Orange, Count of Nassau and of Katzenelnbogen, Marquis of Veere
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and of Vlissingen, Governor and Captain General of the United Provinces of the Netherlands, etc.
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Monseigneur,
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Out of fear that this small Practice of fencing (which was in times past given to me as a gift by the author) will lose much of its value, not being put to use at all, for having fallen into the hands of one who makes more profession of the feather than of the weapons.
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Its dignity merits well someone who attach importance to it[: the Captain Péloquin,] being held as one of the bravest swordsmen of France (which I do not say from affection but I assure myself that all those who have known him will give him this same praise), having had the honour in his lifetime to be one of the four first fencing masters in France, and of having trained the king of France, ruling presently, in the weapons, when he was no more yet than the king of Navarre<ref>This seems to refer to King Henry IV of France</ref>, and that he had such heart with the weapons that he has acquired an immortal memory through both beautiful victories won with so much fortune as never a king has done.
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In which, Monseigneur, you follow him very closely, as well in happiness, as in military caution and wise conduct, and I have estimated that is not possible to encounter anyone to whom this small work can be more recommended than to your Eminence.
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So, I have taken the boldness in the same way, knowing that you take pleasure in it, in daring to present it to you, so that that which a great King has learned from the master himself, your Eminence can learn from this silent master if it delights him. Because your eminence will see a different method here, than that of the masters of it, however without despising anyone.
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If you think me too presumptuous to thus make a show of another’s work, I can assure well that I have known the author of this book as honest and an admirer of truly Christian Princes. If he was still alive, he would praise my undertaking and he would esteem it a great fortune to see this little work fall in the hands of a Prince as wise and virtuous that God has placed him the weapons in hand to preserve his Church and to defend the freedom of these lands.
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Therefore receive, Monseigneur, this little orphan, gratefully and under your protection, of a countenance so humane that it is offered to you willingly by he who has no greater ambition than to be able to deserve the fortune that my parents have had, who have confined the most beautiful of their age in the service of the deceased Monseigneur the Prince of Orange, of high memory, your very honoured lord and Father.
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And I, I would like to be able to do the same. But that which they have done with the weapons, I would like to be able to do that with the feather and the discourse, because my profession is nothing else. If this can happen some day, I will think myself the most fortunate in the world, and still if it is
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denied me, I will let myself be thought fortunate enough if your Eminence does me this favour of believing that I am and will be all my life
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Monseigneur
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your eminence’s
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very humble and very obedient servant
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I. de La Haye.
 
| '''[2r-3v]''' [Dedication]
 
| '''[2r-3v]''' [Dedication]
  
 
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| '''The elevations and the guards'''
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You must note that the elevations and degrees, where there are the numbers 1, 2, 3, 4, 5, 6, 7, serve to instruct the elevation where you must hold the guards of both the sword and of the dagger, and the points of the sword, as you can see in these two figures.
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On the first [figure], you see how low you must have the point of the sword. Being on the second line, you must hold its point at one foot from the ground.
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Being on the third, at two feet from the ground. And on the fourth, at the height of the crotch. And thus the others following until seven, which is the highest for the cuts.
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Likewise, the second line in the middle<ref>A little further down in the treatise, after the Riposte from fourth guard, the primes are described as attacks given from close measure where further advancing is not required. The premieres are defined as attacks given whilst advancing into measure. The movements
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indicated on the four diagrams showing the guard may demonstrate the prime that can be made from each guard.</ref> makes the separation between left and right to involve the guards and points of both the sword and of the dagger, towards your left or towards your right to shut out the sword of your enemy.
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The feet are governed the same, and at the same heights.
 
| '''[4r-v] Les Hauteurs et les Gardes'''
 
| '''[4r-v] Les Hauteurs et les Gardes'''
  
 
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| '''First guard with the primes'''
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In the first guard, which is low, you must have the sword at your right, the point low at a half foot from the
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ground, held in your middle in front of your right foot, if it<ref>Your right foot.</ref> is in front, because you can make this having the left foot in front. And you must hold your guards of the sword at your right at the height of the crotch, as advanced as withdrawn, and your dagger towards your left, the pommel at the height of the belt, the point upwards towards your left.
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This guard is good against the second guard.
 
| '''[5r] Garde Premiere . Avec les Primes'''
 
| '''[5r] Garde Premiere . Avec les Primes'''
  
 
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| '''Second guard.'''
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In the second guard, you must have the sword high in front of you, watching your enemy underneath your guards, and the dagger a little lower than in the first guard, and the feet almost joined, the right foot in front.
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These two guards, to wit the first and the second, defend against each other, as starting from low to high, and from high to low.
 
| '''[5v] Garde Seconde'''
 
| '''[5v] Garde Seconde'''
  
 
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| '''Third guard'''
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This third guard and the following fourth defend against each other, from right to left and from left to
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right.
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You must have the sword with the guards in front of you, the point advanced towards your left, and having
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your dagger a little back and a little higher.
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The left foot is good in front.
 
| '''[6r] Garde Tierce'''
 
| '''[6r] Garde Tierce'''
  
 
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| '''Fourth guard'''
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The fourth guard is good on either foot.
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You must have the sword at your right quite advanced, and the dagger at your left as much advanced as it can
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be, as if you want to embrace your enemy.
 
| '''[6v] Garde Quarte'''
 
| '''[6v] Garde Quarte'''
  
 
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| '''Assault and low riposte in first guard'''
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If you want to make a low riposte, place the left foot in front to enter with the right, or the right in front to enter with the left, both for assault and for defence beating the sword of the enemy upwards towards your right, striking your thrust from below your left arm, voiding<ref>The phrase “faisant deffaicte” provided some difficulty. Possible translations include “to avoid” or “to miss”, but whether it relates to an action of the body/feet or of the sword is unclear. Throughout the treatise we have chosen to translate it as “voiding”. In this instant it can mean either voiding a possible counter, for instant by stepping offline, or it could mean avoiding a possible defence with your sword. Neither of these avoidances is specifically indicated in the accompanying diagram.</ref>.
 
| '''[7r] Assaut et riposte basse . en garde premiere'''
 
| '''[7r] Assaut et riposte basse . en garde premiere'''
  
 
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| '''High in the second guard'''
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If your enemy strikes you, or if he lowers his sword to the engagement, beat it with your dagger below your right arm, letting the point of your sword drop where you want to give, entering the right foot, both for assault and for defence.
 
| '''[7v] Haute . en garde Seconde'''
 
| '''[7v] Haute . en garde Seconde'''
  
 
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| '''Assault and left riposte in third guard'''
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In third guard, the first must cover with the sword and the second with the dagger<ref>Most likely this ambiguous section indicates that during the first (assaulting) you must cover with the sword and during the second (riposting) you must cover with the dagger.</ref>, and second with the dagger, thus covering with your sword towards your right.
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Giving your thrust, at the same time enter with the right foot.
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Nota.
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Each of these four guards uses the four, to wit the premiere, the prime, the high riposte and the low riposte.
 
| '''[8r] Assaut et riposte . Gauche, en garde tierce.'''
 
| '''[8r] Assaut et riposte . Gauche, en garde tierce.'''
  
 
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| '''Right in fourth guard'''
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In fourth guard, you must, while beating with the dagger, give your thrust by raising the guards of the sword towards your right, entering with the left foot,
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both in assault and in defence.
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Nota on giving the prime.
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When you want to give the prime, you must advance the foot strongly, until you are at measure of a good length to give, without advancing and have the body and
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the weapons drawn backwards. For the premiere you must be out of measure and give while advancing the foot.
 
| '''[8v] Droitte en garde tierce (crossed out) Quarte.'''
 
| '''[8v] Droitte en garde tierce (crossed out) Quarte.'''
  
 
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| '''The tirades<ref>The French word “Tirade” seems to indicate a feint performed with a (partial) strike that is quickly drawn back for a second strike to be made to a different target. It is one of the three types of feint described in the treatise, together with a feint by cavade (“Cavement”) and afeint by arching (“voûtement”).</ref> in first guard.'''
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The tirades are done when your enemy stands firm with his weapons and you, being afraid of attacking him with a simple [attack], are compelled to disorder him by making a feint.
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From the first guard, you must feint your thrust at the height of the belly, underneath his weapons, drawing your sword back subtly while beating the right foot.
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Then you straighten up your point high, and give your thrust at discretion, entering with the right foot, advanced as much as you can.
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Nota.
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All these feints, by tirade as well as by cavade and by arching<ref>Voûtement” from ”voûte”, which in turn derives from old French “volte”. Despite the
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similarity to the Italian term “volta” a blade action is intended here, whereby the blade is curved upwards around the cover placed by the opponent. Instead, “incarter” is used for the volta-like stepping action. This has been translated here as “turning”, as in “turn with the left foot”.</ref>, could be used as well as seconds, or as double ripostes, but you must enter with the left foot at the first riposte, following with the right.
 
| '''[9r] Les Tirades . en garde Premiere.'''
 
| '''[9r] Les Tirades . en garde Premiere.'''
  
 
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| '''Tirade in second guard.'''
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In second and high guard, you must make your tirade high, and lowering your point, give your thrust low.
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If you have the left foot in front, beat [with the foot] while making your feint, and while giving your thrust advance as much as you can, as the figure instructs you.
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And if the right foot is in front, do as in the first<ref>From the context it is not clear what “the first” refers to. Possibilities include the first tirade (i.e. the tirade from first guard) and the simple riposte.</ref>.
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Nota.
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The numbers marked in this figure and the others denote the times that you must take.
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.
 
| '''[9v] Tirade en garde seconde.'''
 
| '''[9v] Tirade en garde seconde.'''
  

Revision as of 04:30, 14 January 2022

Captain Peloquin
Born 16th Century
Died 17th Century (?)
Occupation Fencing master
Nationality French
Patron Henri Ⅳ of France
Genres Fencing manual
Language Middle French
Notable work(s) Cabinet d’Escrime de l’espee et poingnardt
Archetype(s) Currently lost (ca. 1585)
Manuscript(s) MS KB.73.J.39 (1600s)
Translations Traduction française

Captain Peloquin was a 16th century French soldier and fencing master. He is described as "one of the four leading fencing masters of France", and his treatise notes that he trained King Henri IV of France in fencing. This likely occurred in the 1570s, giving us an approximate time frame for Peloquin's career.

Toward the end of the 16th century, Peloquin authored a fencing treatise titled Cabinet d'escrime de l'espee et poingnardt ("Showcase of Fencing with the Sword and Dagger").[1] The only extant copy, current MS KB.73.J.39, was made by J. de La Haye, a friend of Peloquin's, between 1600 and 1609. Peloquin's treatise is distinctive for its abstract diagrams consisting of floating weapons and feet with lines connecting them to disembodied hearts and faces.

Treatise

Additional Resources

References

  1. ↑ Matt Galas estimates that it was written in the 1580s or 1590s based on internal evidence.
  2. ↑ An alternative translation of “premier” could be “foremost”
  3. ↑ This seems to refer to King Henry IV of France
  4. ↑ A little further down in the treatise, after the Riposte from fourth guard, the primes are described as attacks given from close measure where further advancing is not required. The premieres are defined as attacks given whilst advancing into measure. The movements indicated on the four diagrams showing the guard may demonstrate the prime that can be made from each guard.
  5. ↑ Your right foot.
  6. ↑ The phrase “faisant deffaicte” provided some difficulty. Possible translations include “to avoid” or “to miss”, but whether it relates to an action of the body/feet or of the sword is unclear. Throughout the treatise we have chosen to translate it as “voiding”. In this instant it can mean either voiding a possible counter, for instant by stepping offline, or it could mean avoiding a possible defence with your sword. Neither of these avoidances is specifically indicated in the accompanying diagram.
  7. ↑ Most likely this ambiguous section indicates that during the first (assaulting) you must cover with the sword and during the second (riposting) you must cover with the dagger.
  8. ↑ The French word “Tirade” seems to indicate a feint performed with a (partial) strike that is quickly drawn back for a second strike to be made to a different target. It is one of the three types of feint described in the treatise, together with a feint by cavade (“Cavement”) and afeint by arching (“voûtement”).
  9. ↑ Voûtement” from ”voûte”, which in turn derives from old French “volte”. Despite the similarity to the Italian term “volta” a blade action is intended here, whereby the blade is curved upwards around the cover placed by the opponent. Instead, “incarter” is used for the volta-like stepping action. This has been translated here as “turning”, as in “turn with the left foot”.
  10. ↑ From the context it is not clear what “the first” refers to. Possibilities include the first tirade (i.e. the tirade from first guard) and the simple riposte.
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