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Difference between revisions of "Pedro de Heredia"
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| '''Section 1 - How one must accommodate the body to put on a posture well.''' | | '''Section 1 - How one must accommodate the body to put on a posture well.''' | ||
− | Now the accommodation of the body to be on guard will be holding the body straight with the right side a bit forward, turning the left side a bit backward, leaning the body on the left leg, of which the knee must be bent; the left arm is raised near the face like a semi-circle, the right leg extended or | + | Now the accommodation of the body to be on guard will be holding the body straight with the right side a bit forward, turning the left side a bit backward, leaning the body on the left leg, of which the knee must be bent; the left arm is raised near the face like a semi-circle, the right leg extended or a bit bent, the two heels face-to-face to one another showing only the flank; you will cover with your right arm well extended below and a bit in front above the right thigh, the sword point looking in front of the enemy's right shoulder a bit higher than the fittings<ref>According to Lauvernay, fourniment is the powder case of arquebusiers and musketeers (sometimes extended to all the equipment carried). The word is only used once to indicate a place on the body, probably a bit below the shoulder.</ref>, and traversed somewhat inward, properly going on all sides to the enemy's sword. It is the third guard that I hold to be the most perfect, and in which all observations of good technique can be better protect, seeing that everything that derives from the other guards can easily (at least in part) be accommodated by this. However having before spoken of the four guards, I want to explain each of them in their place, to show that it is not necessary to rest in only one, because I hold them all good when performed well; also it is a decent thing to know how to govern oneself in all guards according to which one can recognize the enemy's inclination. |
Before putting the said guards in effect, a good master must teach his disciples the steps which are called pacing, rotating, traversing, and following a straight line before putting the sword in their hand, to make them more agile and swift in all movements, which having understood, he will give them sword in hand, teaching them the ensuing guards from which all the others derive as their principal element. | Before putting the said guards in effect, a good master must teach his disciples the steps which are called pacing, rotating, traversing, and following a straight line before putting the sword in their hand, to make them more agile and swift in all movements, which having understood, he will give them sword in hand, teaching them the ensuing guards from which all the others derive as their principal element. | ||
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<p>'''Cover''' the sword means to extend your sword onto that of the enemy's to subdue him or to compel him to disengage.</p> | <p>'''Cover''' the sword means to extend your sword onto that of the enemy's to subdue him or to compel him to disengage.</p> | ||
− | <p>''' | + | <p>'''Break''' the sword is to force the enemy to change guard.</p> |
<p>Sometimes if one is said to '''shoot a stab''' to the face or a cut to the head, that may be a feint, therefore, one must use discretion. | <p>Sometimes if one is said to '''shoot a stab''' to the face or a cut to the head, that may be a feint, therefore, one must use discretion. | ||
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<p>'''Article 10'''</p> | <p>'''Article 10'''</p> | ||
− | <p>On the aforementioned guard, you can still carry your point below the enemy's sword outward toward his right | + | <p>On the aforementioned guard, you can still carry your point below the enemy's sword outward toward his right limb. From there, you will feint inward according to the above rule and if he tries to parry, you will disengage your point outward pushing a high-thrust on his right shoulder, recovering in third.</p> |
<p>'''Article 11'''</p> | <p>'''Article 11'''</p> | ||
Line 2,117: | Line 2,117: | ||
|- | |- | ||
! <p>Illustrations</p> | ! <p>Illustrations</p> | ||
− | ! <p>{{rating}}</p> | + | ! <p>{{rating|C|Draft Translation}}<br/>by [[John Tse]]</p> |
! <p>Transcribed by </p> | ! <p>Transcribed by </p> | ||
+ | |||
+ | |- | ||
+ | | | ||
+ | | <p>'''Article 1'''</p> | ||
+ | |||
+ | <p>The enemy being in long third having his dagger backward, you will go to the subjection of his sword inward with your strong's middle to his weak's middle; and if he permits the measure, you will push a long high-thrust from his blade to the right shoulder. And if you find an opening below the dagger's limb, you will shoot with high-thrust below it to the left side. And if he advances the dagger while arming himself low, you will shoot your point to yourself cutting him a low-thrust above the dagger's point, to the left shoulder.</p> | ||
+ | | | ||
+ | |- | ||
+ | |||
+ | |- | ||
+ | | | ||
+ | | <p>'''Article 2'''</p> | ||
+ | |||
+ | <p>If the enemy puts himself in short third having his dagger advanced and his sword backward, you will always govern your sword outward from his dagger, in order to be able to shoot below it, or above with a low-thrust, or cut well above his dagger's point a high-thrust between the two weapons or otherwise.</p> | ||
+ | | | ||
+ | |- | ||
+ | |||
+ | |- | ||
+ | | | ||
+ | | <p>'''Article 3'''</p> | ||
+ | |||
+ | <p>If the enemy tries to break your sword with both weapons, you will retire the arm to yourself holding the hand inward on the low-thrust to prevent him from being able to gain the short measure.</p> | ||
+ | | | ||
+ | |- | ||
+ | |||
+ | |- | ||
+ | | | ||
+ | | <p>'''Article 4'''</p> | ||
+ | |||
+ | <p>Be advised to always hold your point in action, so that the enemy cannot perform some opening with his sword to attack you with his dagger.</p> | ||
+ | |||
+ | <p>When you have shot a high-thrust or low-thrust, you will quidkly cover his sword so that he cannot riposte.</p> | ||
+ | | | ||
+ | |- | ||
|- | |- |
Revision as of 06:28, 11 February 2024
Pedro de Heredia | |
---|---|
Spouse(s) | unknown |
Occupation |
|
Nationality | Spanish |
Movement |
|
Influences | Girolamo Cavalcabo |
Genres | Fencing manual |
Language | Middle French |
Notable work(s) | Book of Lessons |
Principal manuscript(s) |
Pedro de Heredia is the presumed name of a fencing master who taught young schoolchildren and wrote three French manuscripts. The manuscripts do not contain any attributions, but a catalog description from 25 June 1900 attributed one of the manuscripts to Pedro de Heredia for reasons unknown.[citation needed]
The manuscripts do not contain a title, but the plates in one of the manuscripts refers to the work as Le Livre des Leçons ("The Book of Lessons"). It is a French paraphrase of Girolamo Cavalcabo's Nobilissimo discorso intorno il schermo ("Most Noble Discourse on Defense").
The actual Pedro de Heredia was an early 17th century Spanish servant of the king. He married in 1618 and pursued a military career in the Netherlands. He was a cavalry captain by 1630, and in 1648, he became the governor of Leau (now Zoutleeuw), Netherlands. It is unlikely that de Heredia was a fencing master because of his position.
Contents
- 1 Treatises
- 1.1 Preface
- 1.2 Single Sword Play
- 1.2.1 Chapter 1 - Simple lessons of the single sword.
- 1.2.2 Chapter 2 - The discard[9].
- 1.2.3 Chapter 3 - Double lessons of the single sword.
- 1.2.4 Chapter 4 - Feints.
- 1.2.5 Chapter 5 - Voids[10] and remedies.
- 1.2.6 Chapter 6 - The passings.
- 1.2.7 Chapter 7 - Times and counter-times.
- 1.2.8 Chapter 8 - Lessons on sword attack.
- 1.2.9 Chapter 9 - On the use of the free hand.
- 1.2.10 Chapter 10 - On sword-takings and their remedy.
- 1.2.11 Chapter 11 - The gainings[13] or the subjections of the sword.
- 1.2.12 Chapter 12 - Slashes[14], reversals, and their remedies.
- 1.2.13 Chapter 13 - Single sword play in mathematics form.
- 1.2.14 Chapter 14 - Discourse and advice of the single sword play, both for gaining ground and other required subtleties.
- 1.2.15 Chapter 15 - Rule to avoid being surprised on the time of the foot.
- 1.2.16 Chapter 16 - Single sword play against sword and dagger.
- 1.2.17 Chapter 17 - On the short sword.
- 1.2.18 Chapter 18 - On the use of the cloak.
- 1.2.19 Chapter 19 - The grapples of the single sword.
- 1.2.20 Chapter 20 - Against the left-hander.
- 1.3 Sword and Dagger Play
- 1.3.1 Chapter 1 - First the dagger parries.
- 1.3.2 Chapter 2 - The simple lessons of sword and dagger.
- 1.3.3 Chapter 3 - The feints of the said sword and dagger play.
- 1.3.4 Chapter 4 - On the beats of both sword and dagger.
- 1.3.5 Chapter 5 - On the long play.
- 1.3.6 Chapter 6 - The double intentions.
- 1.3.7 Chapter 7 - The passes and their remedies.
- 1.3.8 Chapter 8 - The disappearances.
- 1.3.9 Chapter 9 - On times and counter-time.
- 1.3.10 Chapter 10 - The encroachment.
- 1.3.11 Chapter 11 - The advancing[20] on the long and short play.
- 1.3.12 Chapter 12 - On the breaking.[21]
- 1.3.13 Chapter 13 - The slashes of the sword and dagger play.
- 1.3.14 Chapter 14 - Binding and unbinding.
- 1.3.15 Chapter 15 - Subjugation, disengagement, and avoidance of engagement.
- 1.3.16 Chapter 16 - Lessons of dagger cuts.
- 1.3.17 Chapter 17 - How one can throw the sword out of the hand.
- 1.3.18 Chapter 18 - On the left foot.
- 1.3.19 Chapter 19 - Against the left-hander.
- 1.3.20 Chapter 20 - Discourse and advice of the sword and dagger play.
- 1.3.21 Chapter 21 - Know who has more advantage being in a mountainous place, he who holds the top or the bottom.
- 1.3.22 Chapter 22 - Know who has more advantage, the left-hander or the right-hander.
- 1.3.23 Chapter 23 - Rule against those withdrawing that we want to catch off guard while you pursue.
- 1.3.24 Chapter 24 - Know who has more advantage, the sword and cape or the sword and dagger.
- 1.3.25 Chapter 25 - Advice on how a little man needs to control a big man.
- 1.3.26 Chapter 26 - The grapples of the sword and dagger.
- 1.3.27 Chapter 27 - The guard takes against dagger cuts.
- 1.4 Copyright and License Summary
- 2 Additional Resources
- 3 References
Treatises
Preface
Single Sword Play
Sword and Dagger Play
Copyright and License Summary
Additional Resources
The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.
- Dupuis, Olivier (2016). "The French Fencing Traditions, from the 14th Century to 1630 through Fight Books." Late Medieval and Early Modern Fight Books. Transmission and Tradition of Martial Arts in Europe: 354-375. Ed. by Daniel Jaquet; Karin Verelst; Timothy Dawson. Leiden and Boston: Brill. doi:10.1163/9789004324725_014. ISBN 978-90-04-31241-8.
- Heredia, Pedro de (2017). Book of Lessons. Trans. by Rob Runacres. Glasgow: Fallen Rook Publishing. ISBN 978-0-9934216-5-5.
References
- ↑ According to Lauvernay, fourniment is the powder case of arquebusiers and musketeers (sometimes extended to all the equipment carried). The word is only used once to indicate a place on the body, probably a bit below the shoulder.
- ↑ Droit can mean "right" or "correct" (as in not incorrect) or "true".
- ↑ Volter is an Italian loanword of voltare which means "to turn".
- ↑ Estocade is the French loanword for the Italian stoccata and is used in this treatise as "supination".
- ↑ Brocade is the French loanword for the Italian imbroccata and is used in this treatise as "pronation".
- ↑ Caver is the French loanword for the Italian cavare, which means "to dig or to excavate".
- ↑ Lit. translated as "right-hands".
- ↑ Estramaçon is a loanword for the Italian stramazzare which means "to fall heavily". It is also French for greatsword.
- ↑ Credits to Alan Bloniarz for providing context to the word "garatusa" which is a Spanish card game where one discards their cards to win.
- ↑ Écarté is the French loanword for the Italian technique "inquartata" and means "discarded"
- ↑ "Derobement" is a modern fencing term to mean avoiding an entrapment of some sort.
- ↑ "Tirer" is normally translated as "shoot" but in this case I believe "pull" makes more sense.
- ↑ Gannance is a loanword derived from the Spanish word "ganancia", which means "gain". It is used to describe a situation where your blade is used to restrict the opponent's blade movement. Credit to Tim Riviera for the explanation.
- ↑ The Spanish word "cortar" simply means "to cut".
- ↑ Charger means "to load" but is a synonym of "to subdue" in this context.
- ↑ The transcription has "dedans" placed both before, after, and within the every clause.
- ↑ The comma makes more sense after "against him", but I kept it in its original place as the transcription.
- ↑ The period is missing in the transcript.
- ↑ Palms is a unit of measurement for length based on the length of a hand.
- ↑ Chassement means "chasing". In this case, it is the back foot chasing the front. In modern fencing, this is known as advancing.
- ↑ Crèvement means "to burst or to puncture." In the treatise, it is used to describe breaking guards.
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