Jami' al-funun

Pseudo Ibn Akḥī Ḥizām
Kitāb al-makhzūn jāmiʿ al-funūn title (BnF 2824)
Born	10th AH/ 15th CE century Egypt? Syria?
Occupation	Mamluk scribe?
Nationality	Circassian Period (“Burjī”) Mamluk
Influences	Mamluk Martial Arts Literature Lāchin b. ʿAbdallāh al-Ṭarablūsī Ibn Akhī Ḥizām
Genres	Military manual
Language	Arabic, Egyptian Colloquial Arabic
Notable work(s)	Kitāb al-makhzūn jāmiʿ al-funūn (875/1470-1)
Manuscript(s)	BnF Arabe 2824
Concordance by	Hamilton Parker Cook, PhD

Kitāb al-makhzūn: Jāmiʿ al-funūn ("The Treasure: A Work that Gathers Together Combative Arts"; colophon dated 875 AH/1470-1CE) is an Arabic language work in the classical style of Mamluk furūsīya literature . The work is attributed to the famous «father» of Islamicate martial arts literature Ibn Akhī Ḥizām (c. 250 AH/ 864 CE; given as Ibn Akhī Khuzām), yet is clearly the work of a Mamluk author . Agnès Carayon suggests that a grandee of the Circassian Mamluk (Burjī) court commissioned the work, potentially for Sultan Qāʾitbay (r. 1468-1496) . Composite in nature, the work is most likely a summary of other, more voluminous works—such as Nihāyat al-suʾl wa-l-amnīya fī taʿlīm aʿmāl al-furūsīya ("The End of Questioning: A Trustworthy Work concerning Instruction in the Deeds of Furūsīya") by Al-Aqsarāʾī (c. 9th cent. AH/14th cent CE) . Certain sections begin and then trail off, while others remain incomplete, suggesting that this work is composite in nature and was most likely a summary or copy of other works both extant and lost. The author does not cite other authors within the body of the text itself.

The text of Jāmiʿ al-funūn is by and large more classical in nature with a great deal of dialectal, Egyptian Arabic of the period. This pertains both to vocabulary (ex: bāṭ for ibāṭ "armpit" throughout; jawwān as a preposition) as well as to grammar (verbs not in gender alignment, plurality disagreements, grammatical inconsistencies of adverbial phrases etc.). An introductory phrase in Ottoman Turkish in the beginning of the text has it that on «The seventh night of Muharram, 975 AH (1567CE)” a certain “Ṣilāhdār Aǧa” Dervish (unknown) petitioned God to be among those counted as Muhammad’s companions . Likewise, the intricate title page has “The owner of this work is Derviş Ağa” crossed out in black ink . Whether or not this was a higher ranking “Arms-Bearer” of the Sultan cannot be confirmed. The version from which the following translation stems is Bibliothèque Nationale MS 2824 (another version can be found in the same collection: MS 2826). Scholars have yet to produce a critical edition of this work.

Despite its brevity in comparison to other works of the Mamluk furūsīya tradition, Jāmiʿ al-funūn provides a great deal of insight into the ways in which the Mamluks trained their troops. The illustrations featured in the work are some of the best examples of the medium . Distinct from other works in the genre with lengthy introductions, Jāmiʿ al-funūn begins with only minor benedictions, then jumps straight into a description of how to establish the training area for cavalry exercises – the nāwārd. From there, the author displays 72 bunūd or paired lance exercises – most likely inspired by al-Ṭarāblūsī’s famous 72 forms (c . 738 AH / 1337-8 CE) . Following this, the author then treats issues deemed relevant to the development of a cavalier, without a particular logic to the ordering of the sections.

Unlike other works of furūsīya, Jāmiʿ al-funūn contains several sections detailing the ways in which soldiers can train for combat on foot. Most notably, the author presents a system for training swordsmanship. The work begins with instruction on the ways in which one can execute paired exercises with cane fighting, dagger fighting, and cane and shield fighting on foot. The author details the proper ways to feint and hit, the ways in which one can parry and riposte (and disarm), and where to target with a sword. In the author’s system, training with the cane was a safe means to perfect one’s technique before moving on to using sharp swords in battle. After training with the cane, the author recommends perfecting test cutting on clay mounds as a way to develop arm strength and ensure proper edge alignment. Following both of these methods of training, a potential cavalier would be ready to pursue test cutting on horseback.

The translation which follows is a selection of those sections of Jāmiʿ al-funūn most relevant to the study of swordfighting and the development of the saber in the Islamicate.

Selections from Jāmiʿ al-funūn

The Band of the Sword (band al-sayf)

[12v] The wrists do the right motions correctly, while the rider sits towards the front of the horse. The opponent should hold the lance on the right, while you work from the right shoulder, able to bring your own lance down and put it behind your back, and then hold it from the left. You draw your sword and then obscure it, and strike a hard strike, then sit forward a tenth degree (ʿāshir). Then, another hard strike while you take up the lance while your opponent is at your left shoulder, as if you were going to thrust at him. At this moment, strike his forearms with the sword .

Chapter on Shielding Oneself with the Shield in War

You should put in the shield two, delicate (liṭāf) rings between the two edges of the inner part of the shield (min al-khānabayn). Then, you should add a fine cord (bindan latifan) to them. Then, you tie a knot to the head of this cord, which should enter over the right shoulder over the gambeson (qarqal) and then should enter through the other side of the two rings, from under the grip. [The rider] should enter his right hand from under the cord between the grip and one of the rings, and lift the shield over his (left) shoulder so that it protects and shields his face, and sets upon his [left] shoulder bone (ʿalā rummānati katfihi). He should then pull the rope tight such as he is able, then tie over the other ring one strap from the front. The rider should be able to transport it in this way, such that the shield does not move about while upon his shoulder whenever he intercepts a blow. If he wants to shorten the rope to make it tighter on his back, he should move it and shorten it between his shoulders. If the rider wants, he can return it to its (previous) position on his shoulder (from the back). If someone should bind a weapon to the shield, or thrust into the middle of the shield, the rider can cut the knot tying together the strap, and the shield will release, and the rider will be freed of it. None have seen a shield of this likeness before. Some of those who use shields when they seek to bind against a spear, they are not able to fire a single arrow as a riposte. With this shield, you are able to shoot whatever you want and thrust however you want, and the shield will not deter you at all. For this reason, riders have made these shields (in the above manner), and chosen these shields over all other shields. So you should not favor any other one, because this kind of shield will remain as the best .

Chapter Concerning how the Play of the Canes are on Foot

It is that which consists of taking (al-akdh, or "binding") and parrying (al-tabṭīl, or "deflecting"). If you will engage in this, you should:

Strike to the left, then parry with the left. Strike above the head, and parry above the head. Strike to the right and the left – hitting the thigh (kafal) and the head. Then: Jump in a way to disengage (al-taḥlīl) Then: Enter in (al-ʿaṭf) Then bring the cane from below to the chin. Then: Turn the cane upside down. Then: Turn the cane to threaten the head. Then: Strike [the head] to the right and to the left. (All of the above: a snapping motion, i.e., feint then molinello)

Then: Strike his two elbows from both directions (left and right) Then: Strike left and right. Then you should finish as with the first strike to the head.

Then your opponent should do as you have done.

Then practice the known counters (Al-mufāsadāt al-maʿlūma) to these actions between players of the cane.

In this manner one should do as I’ve described to you here on horseback, if you intended to do the play on foot .

[64v] «Description of the Cane that the player should use» It should only be from the bitter almond tree (al-lūzmur), because it is not too stiff when striking (wa-lā yathbit li-l-ḍarb). Or, it should be one that can be made from an orange tree (nāranj). It should be one whose length is eight hand grips (qabḍāt).

Now, the play beings with the stopping of the horses, and grabbing the cane in the rider’s right hand. The left stirrup should be short, in order for the rider to stand up in it. The rider should grab the reins of the horse at the half. After saluting the opponent (al-khidma), the rider should begin by striking from the right and from the left, by breaking the trot of the horse (bi-taḥrīk al-faras) with the spurs – but not stopping the horse during any of the actions. The rider should circle in the Nāward (space for practice).

Then: The rider should grab the horse by the head, and have it circulate. This is knowledge from the Chapter of Warfare (fa-hādhā bāb al-ḥarb). The rider has already voided the opponent, after parrying him, from the right and from the left. Then, the rider should jump in a way to disengage after having grabbed the face of the horse and the flank of the horse. Then the rider should disengage from the right and the left. After disengaging, he should strike at the head. After striking, he should invert his cane so that it is behind him, and cast it to hit the two elbows, two times and three. Then, the rider should engage from the Abode of the Arm (bayt al-marfaq), striking from the right and the left. Then disengage, inverting the cane to hit the two elbows, striking from the right and from the left. Then, he should strike from the right and the left. Then the rider should engage from the Abode of Entering (bayt al-ʿaṭf): he should lean in and strike from the right and the left. He should “strip” the opponent’s cane with his own cane that will lay on top of it [i.e., hitting and pushing it away]. Then he should cast the cane at the face of the opponent vertically (i,e., hand is level). Then, the rider should turn his hand to strike under the armpit (sic. bāṭ for ibṭ, pl. ābāṭ) of the opponent. Then, he should invert the cane threatening the head. Then, he should parry right and left, then enter to take advantage of the pursuit during retreat (al-khasārah).

And strike three strikes: at the back of the neck, at the face, and the head of the horse .

(text above and below illustrations)

"The way in which the play with the cane is done on horseback"

"In direct confrontation and during the pursuit "

"A description of this: One plays as one played on the ground"

It is necessary that the horse be obedient during all of the leanings, entries, and escapes.

Some deceptions in executing the play of the cane:

If you strike to the right, then invert the cane to threaten the hand quickly from the left.

Another: If the opponent struck hard (daqqa) against your cane, and you have also struck hard against his cane, then strike his forearm quickly from under his own cane.

Another: If the opponent comes to you from «The Abode of Retreat», and he is unaware, lean on the shoulder of the horse to the right, and strike his face (sic. iḍrib wajhaka strike your face instead of iḍrib wajhahu).

Another: If the opponent comes to you from the «Abode of Retreat» and has struck your cane, be yourself someone receptive to the strike (fa-kun anta mutaḥaṣṣil al-ḍarba; i.e., parry it). Then immediately enter your hand from under your own cane and shackle up the opponent’s cane and pull it from him towards yourself – in order to take it from his hand. Whether it leaves his hand or not, do not busy yourself with taking the cane too much. Rather, invert your own cane toward the opponent’s neck quickly. This will yield a great injury.

Another: If you want to have the opponent not reach you with his cane, then every time he attacks you from the Abode of Retreat, let him slip by, then lean to the right, always. He will not be able to reach you. If you want your strike to be strong, and want to stop his hand from striking, whenever you riposte with a strike, twist your hand in the blow, the opponent’s hand will become stung up unto the shoulder, and he will not be able to meet you [for another blow], and will fatigue. He will not be able to meet you [for another blow]. Then, [strike] three blows: If you strike, invert the blow, then invert the blow a second time from above, then strike a third time with your hand vertical (istiwāʾan). This will yield a great injury.

If the opponent should enter into a retreat, it will tire him out.

(text above and below the images)

"A description of the play with the cane and the buckler on foot"

"A description of the play with the dagger (al-kazlak). In our times, it is not common"

Explanation of the Play with the Dagger. Its description is that you stand…

Opposite the opponent, and put the right foot to the front, while putting the left foot behind. Grab the handle of the dagger with its head inverted toward the earth. Its pommel should be gripped so that the hand is showing outwards. You should seek to hold onto it well. If the opponent throws a blow against it, so that it should meet the reverse of the dagger, the meeting of the dagger should always be with the reverse of the dagger in all actions [in this play; i.e., keep the same grip]. Your dagger should meet his own from the right and from the left, then shield the head with the dagger, and seek to riposte to the head of the opponent quickly. The person doing this should not do so excessively, nor should the players be neglectful in practicing, so that someone should die or be forced to retire. If you do this one time during a session (fī jawlānihi) with the opponent, and if one should be able to reach the head of the opponent a second time, the player should take the back of the dagger, invert it to threaten the forearm and then take the dagger from the opponent all the while cutting his hand. This is indeed the art. If one does this exercise excessively, then it is possible to practice taking the sword or the knife from the opponent. Understand this, for it is a concise summary.

Section: Concerning the Play with the buckler and cane (al-shaqqa). The description of this is that you take up a light buckler and a cane (qaḍīb) with a color of burnt wood (zind-lawn?). The player stands holding the buckler in his left hand, and the stick in his right. He strikes the first strike at the face of the opponent, and then inverts the cane to strike under the opponent’s armpit, all the while not having the cane pass to become caught in the underarm itself —the opponent will be able to fend it off. The player should then extract the cane [from a bind] quickly to strike the hand of the opponent and his face. Then he should return the cane to above his head and strike at the face of the opponent.

These are the three places of striking [i.e., face; armpit; hand/arm] on which rest the tradition (al-thiqāfa) in its entirety. The one who understands the tradition’s ways of entering, its ways to retreat, its disadvantages, and its benefits, has come to know the entire tradition .

Chapter concerning Striking the Sword in Clay in Continual Training (al-idmān)

It is necessary for one who wants to train striking the sword to make use of three swords, one light, one of middling weight, and one heavy, all from black iron (i.e., dark wootz). His grip should be full in accordance with the strength of the palm of the one who is striking. If the striker practices striking with the first sword, he moves on to the second heaviest, then to the third. The weight of the first is three ratls, the weight of the second is five ratls, and that of the third is in accords with the strength of the striker [i.e., as heavy as the striker can handle]. If the person wishes to practice, he should begin by presenting clay that he has covered for two days or three. When he has covered it, he should take a plank of wood about the width of a coat of mail, and the length of five [?], and set it upon four small pillars, with each pillar being as tall of a handspan. The striker should also have something that can carry water, and a cutlet (sic. ẓalʿ instead of ḍalʿ) of camel or cow, and some iron. Whatever may attach to the sword of clay, wipe it off with the cutlet. When one has done all of this, bake the clay in a crossed baking, and carry it upon the aforementioned plank. If the feet of the plank should be longer or shorter than they should be, the palm of the striker will be ruined. The clay should be set down on the plank as a small mound, as the back of a camel, so that the strike will land correctly. If the clay is placed incorrectly from above, or if it is too fine below, this will ruin the cut of the striker’s hand, and will be loathsome to the exercise. This is a great secret which not everyone understands: the clay pile should be in the same height of the striker, neither higher nor lower .

If it is higher than that, then the hand will gain the habit of stopping short, for the strike becomes a moment among moments (i.e., segmented instead of smooth). If it is shorter than that, then the hand will gain the habit of striking too hard (al-inṣidāʿ, lit. splitting or cracking), and lessening of strength. However, if one does as I have said, the striker’s blow will become heavy and strong, and the heart of the striker will be overjoyed. His strike will remain accurate. The striker will be able to work the clay from the first instance of hitting all the way through to the end, as I have described it. It is also necessary that one does not mix into the clay anything that does not belong, for it will corrupt it. The clay itself can come from any kind of clay, whether it is lime, small ground stones, or plaster. When you have shaped the clay, and recognize its goodness, the exercise begins after becoming aware of the states of the clay and sword. The cutter should stand at the head of the clay, and enter in [by turning] the toes of the left foot, and enter in a little bit with the left side in striking due to the strength of the force of the right side. When one does not do this, there will be no strength to the cut at all.

Chapter/section on holding the hilt of the sword with the correct grab.This entails that you grab the part of the sword meant to be grabbed (i.e., not the blade). Grasping the sword occurs in several ways: The first [and most important?] is that if there is a small curve (ḥadab) to the grip, then it will not cut. Know that the sword does not cut save by its tip – and by no other part. If there is a curve at the tip of the blade, then it cuts. If the curve is from below the tip [as a part of the construction of the blade], then it does not cut. The established grip is one that is gentle, this is the goal. It should be neither too refined, nor done incorrectly .

This pertains to the composition of the sword. Let the grip of the sword be circular (mudawwara), not broad. For if it is too broad, the the sword will fall from the hand, and will not remain in place in a steadfast fashion. If the grip is too fine, wrap wax around it a bit. This is what needs to be done especially with «darkened swords». Practice will make gripping these weapons much easier, and progress strength and composure in using them. If the hand grip is too close to the crossguard, it is incorrect, and if too close to the end of the sword, it is too fine – it will cause issues in the hand of the striker, even if the striker is stronger in build. Rather, the grip should be small and subtle at the top of the hand toward the crossguard and while robust yet not excessive toward the end of the sword. For if strength is applied to the front of the sword in cutting, the sword cuts well. If strength is applied to the back of the sword in cutting, the sword misses its mark (lit. «the sword swims»), and will have no strength in any cut that should happen. In addition, the grip should not bee too short, for then one could not strike with it. Rather, the whole sword should be manipulated from the end to the tip of the blade if it is held [well] from the grip. The right hand should twist well around the back of the grip, while the tip of the head of the sword should come towards the nose of the striker (in length). Whether the striker has two long hands or two shorter hands, the sword should come up to about the left eye. Many people who forge black swords broad, while making swords for striking fine. Between these swords are many differences .

The broad bladed sword cuts deeper than the fine bladed sword. However, the fine bladed sword cuts more quickly than the broad bladed sword. The root cause of this lies in the grips, proper positioning, and in their quenching – there is no fourth reason. Quenching comes in many different varieties, while sections of the sword occur in different kinds. As for sword without quillons, its kinds are comprised of two different general varieties: "rigid" (ṣalb – the blade) and "soft-rigid" (nāʿim-ṣalb – the grip). The rigid part of a sword is made of iron and all things associated with it. The soft part of the sword is made of materials like crocodile and all concomitant with it. If we recall these two kinds beyond all others, it is because iron is a core part of making a blade as well as crocodile (or other biological material). An iron-wroght sword must be made from blue-green steel, and likewise when it is struck by the blacksmith it must be said about it "a sword shall be made with an edge" [i.e., intentionality to the design]. There is an exception for those swords that do not have edges, such as the horseman's sword [i.e., something like an estoc] which itself lacks an edge. As for the sword that cuts soft things, it must be made from white steel, and must at least have an edge as we’ve discussed before. It can also have a slight curve at the tip, the curve can also be more pronounced (taḥtānī, literally "under"). As for the grip, as we have said above, the strongest soft things to wrap around it are those that emerge from the water, such as the crocodile and other creatures. Another strong choice would be grips made from birds, ostriches, eagles, scorpions -great Egyptian vultures are by my reckoning the strongest of all. After these kinds, there are those made of sheep, donkey, and cow, and other such animals. Every one of these wrappings has a quenching, preparation, working, and fashioning – so understand this!

If you desire to take up using the sword correctly: Stand as you have learned and take up the sword with the right hand. The shoulder should open up, because this gives the greatest power. The grip should be aligned with the back of the spine of the sword. You should place the top of the grip (barjaq) between the thumb and the pointer finger without having the grip lean on the bones of the thumb and forefinger .

The head of the grip should be freed to move about(mukhallaṣ) between the two fingers to the top of the right quillon – just like thread. This is the right kind of wrapping. If the one meant to grip the sword grips it, he should raise his shoulder until it is at the same level as his ear, and raise his elbow in front of him. His left hand should be at a safe place. Once he has raised his elbow thusly, and is standing at the head of the striking point of the clay, he should bring the sword down in a balanced manner (bi-mīzān, i.e., with balanced and not excessive strength). While doing so, he should be wary of his grip. The hand should not become lax in the grip. If this should happen, the sword will cut crookedly in the clay, and this will damage the hand. When the trainer goes to bring the sword down on the clay, he should do so with strength, and aim to make a cut on the right in his descending cut. When he does cut downwards, let his descending cut end in a draw back towards the cutter a bit. Were the cutter to cut a descending cut, and would not draw the sword back in this manner in his descent, he would not be able to cut anything effectively – neither would the sword be able to go through the clay. Let the cutter be on his knees when he cuts as well.

This indeed is the secret to cutting efficaciously: Cut a downward cut. If you have cut into the body of the clay pile thoroughly, pull the sword toward you and then extract it from the clay. Do not lift the sword back toward the place from which you have made your descending cut, for it will become stuck in the reverse part of the clay, and the sword will bend in it. If clay sticks to the sword, take the cutlet that I mentioned before to you, wipe the blade off and clean it. Were you not to continuously work, and tire in the work of practice, the results of such labor will not come to you. Now, if you strike, strike the clay one strike at a time. Do so starting at the tip of the clay pile and work your way down to its base. Whenever you strike a bit of clay, move your legs forward a bit closer to the clay, until your strike cannot find space to work. If you have done this, and practiced these exercises thoroughly day by day, and have strengthened your shoulder, to the point that you have internalized this method of cutting into your very character

Take up the second sword that is weightier than the first. Do what you have done with the first sword with the second —if you have the capacity to do so, and do not return to the first, taking up the second sword will strengthen you. Take up the aforementioned second sword, and when you have done as I have said to you, and have practiced thoroughly with the second sword, then take up the third sword.

When you have practiced with the third sword sufficiently, and have become stronger, you may begin with the "Baldric Strike" (ḍarb al-ḥamālī). For this, you should construct a pyramid from the aforementioned clay. The bottom should be broad while the top should be thin, just as with the first clay pile. Its height should be at about your right breast. Take up the light sword with which you began your training, and stand facing the pyramid. Stand towards it with both feet flat on the ground, with feet equal distance from one another. Do not take a step yet. When you do step, one step should be ahead of the other, let your feet not be parallel upon the ground - this will corrupt your stance for cutting well. When you have taken a step [with the right foot], stop with your left side at an angle forward. Cast forth your sword from the left, and strike at the top of the pyramid from the left [with an ascending cut]. When you have struck from the left at the head of the silo, tread on the right foot with strength. Let your left shoulder assist your left cut [lean in with your body]. This is what is intended in this lesson. If you do not do this, you will not acquire any skill whatsoever in this Art. So strike from the left, and understand. Strike from the left section by section on the silo, until you reach the ground. When you have come close to the ground in your strikes, undertake descending cuts from the left, and attempt to perform drawing cuts in each cut. This is the correct tradition for striking.

When you have finished this, that is, by cutting the left side of the clay, then take a goose and slaughter it. Hang up its body, and strike it from the left with the sword .

(text above, in the middle, and below the image)

"A depiction of setting up the clay on the dais."

"A depiction of the pyramid of clay, and the Baldric Cut on it."

"In doing so, make sure to take the weights and measurements of the swords you will use in cutting the goose ."

And make sure to hang the carcass in in front of you in a place roughly at your breast level. Continue to cut from the left as you have done with clay. Your cuts from the left should stick to the spine in the back of the goose, and the goose should remain in two parts. Once you have considered yourself as having become proficient in these strikes, set up other pells to cut from soft-tissues. If you have not become proficient, return to the clay and strike it. However, if you have practiced well, string up another goose. Once you have cut these all down, begin with a sheep that you have sacrificed. Hang it up like you did the goose, but this time have the loins hung from above the head with its four legs hanging down, and its entrails opened. When you have become proficient in cutting the sheep, then move onto a donkey. Once you have become proficient in this, sacrifice a cow, hamstring it upon its knees after it has died, and hang it in such a way that its neck is exposed to you. Strike the neck in the same way that you have struck clay, and strike the flanks. Once you have become proficient at this, return, to the clay with a heavy sword, and then return again to this cow. Once you have become proficient at this, strike an ostrich. Once you have become proficient at this, then strike a vulture, and do not make light of it. Your strikes should be at its neck. Once you have become proficient at this, then strike a crocodile. In all of this there is great strength to be had. Do not refrain from cutting a carcass even if it is older or young. If it is young, do not fear, strike with steadfastness in your stance (bi-thabāt), and seek to be proficient. If it is older, and has been dead for some time, do not fear, continue to strike. If one of these animals is alive, and it is hard to cut into them, in the case of quadrupeds, do not cut them unless you have thrown over their face a cloth. For when you strike at them, and they see the edge of your sword, it will tighten up, and such a strike will not be possible. However, if you put a cloth over their faces, their eyes will not be able to see. It will open its eyes under the cloth. Were the animal to become violent and lash out ,

at this moment, strike as you have hit the clay. Indeed, you will cut well. Once you have cut in this manner, it will be easy to cut any animal, such as beasts of prey, hyenas, wolves, bears, and beyond.

Now, when you have struck something, your sword and its quenching will deteriorate. Indeed, there are many aspects to quenching. Do not [re-]quench a sword except with coal and felt. Now, if you are certain in your technique, you will try and cut felt from the left. A description: buy Syrian felt, wrap it up as you would wrap up a paper scroll. Arrange it as you had the pyramid of clay. Strike it from the left in the same way. Let your first left cut be twenty rolls of felt. Once you have cut twenty, then make it thirty. Once you have cut thirty, then make it fifty. Once you have cut fifty, then add ten layers of felt by ten until your strength becomes complete. At this moment, your sword with which you cut this felt should become whetted and sharpened, and should have breadth, in essence it should return to its original form (wa-yakūn muṣaddar). Once you have done this, take up a bolt of cloth and place it over a stuffed carded-cotton cushion, and do not make light of this!. For many people cannot cut such a cushion. Strike at the cushion, and make your hand light, and keep your hand holding the cushion at a proper distance away from the strike. Indeed, the cloth will cut.

Once you have done so, begin with strikes against iron. Now, it is necessary that you have at your disposal…[writing ends here…]

For every kind of sword cannot cannot be used outside of its class (i.e., some swords better for cutting soft materials, others are better for cutting hard ones) .

Chapter concerning cutting iron with the sword, and cutting all things that are rigid. This is [different] than cutting soft things. For this, you should have a sword possessed of a good edge as I have described to you. Take an iron bar and place it in the ground. It should be made of old horseshoes. Strike a blow in the correct manner. Be wary that the cut part does not fly into your face. If the iron bar cuts, and when put into the fire it glows, do not place it just anywhere, but rather, have your bars arranged well ordered on the ground. Doing this will strengthen you. You should begin, after this, what is called «trick cutting» - which is the cutting of ephemera (al-hazaliyyāt). This is a cut of various sheets from whatever one chooses by the strength of the sheet. A description of this: One can take a small cut of iron, formed into the form of a sheet that you can cut. One then adds to this a bit of starch to cover it and conceal it [i.e., extending beyond the sheet]. Once one has done this, no one from among those God has created would know what is in this sheet. One could then say to the crowd (al-baṭṭāra) "How many should I cut for you?" They would respond "this many, that many, etc." and then one could take up this bit of iron sheet, and add to it and place it before them in such a way that one could strike it, and the sheets would cut be cut just to the edge of the iron core, but the iron core of the sheets would not be cut themselves. They would perceive this with much wonder at the trick! I have not mentioned here many more such tricks. So understand this .

A description of the practice of cutting reeds on horseback

One should take a green, Persian reed, and then plunge it into the ground to about the height of the chest of the rider on horseback. Then the sword is grasped with vigor. You, the rider, should drive your horse and cut at the reed from the left, cutting it a hand-span (shibr) by hand-span to the extent that only a hand-span should remain. When you have achieved certainty in this, intensify your strike to that of wild game on the ground .

Take care that the sword does not cut through the horse or through yourself (takhraj al-faras aw takhrajka). Do not grab the sword except in such a way that leaves room for free movement at the right side of the horse. If you find that you are not hitting [il-lā labis unclear], do not strike from the left nor strike in the same way you have been doing before. Rather, thrust a good thrust at the reed while standing up in your two stirrups. Refine your hand on the sword, and do not hurry, you will push through (fa-takhruj, i.e., the velocity of the horse will force the cut through). However, your toes should remain in the stirrups, do not release your toes to the side of the horse, or you will be expelled from the stirrups. Be wary of this.

(Text accompanying the image above, to the side, and below)

"Depiction of the Green Reed"

"Practice with the sword on horseback"

"The reed and practicing on horseback "

References

Agnès CARAYON, “La Furūsiyya Des Mamlûks: Une élite sociale à cheval (1250-1517), Doctoral Thesis in History (Arab World, Muslim, and Semitic Studies), Université de Provence Aix-Marseille, June 26 2012.

Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn jāmiʿ al-funū, colophon 875 AH/1470-1CE, BnF Arabe 2824: https://gallica.bnf.fr/ark:/12148/btv1b8422958j.r=arabe%202824?rk=21459;2

Shihab al-Sarraf, “Mamluk Furūsīyah Literature and Its Antecedents,” in Mamlūk Studies Review Vol. VIII, No. 1 (2004).