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Difference between revisions of "Pablo de Paredes"
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| <p style="font-weight:bold;">Rules or Canons of the Two-Handed Sword:</p> | | <p style="font-weight:bold;">Rules or Canons of the Two-Handed Sword:</p> | ||
| − | <ol style="margin-left:2em;"><li>A talho,<ref>A Talho is a forehand blow.</ref> and a thrust, entering and exiting | + | |
| − | + | <ol style="margin-left:2em;"><li>A talho,<ref>A Talho is a forehand blow.</ref> and a thrust, entering and exiting.</li></ol> | |
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| <p style="font-weight:bold;">Regles ou Canons de l’espée à deux mains.</p> | | <p style="font-weight:bold;">Regles ou Canons de l’espée à deux mains.</p> | ||
| − | <ol style="margin-left: | + | |
| − | < | + | <p>La primera, es de un tajo, y una estocada, entrando y saliendo.</p> |
| − | < | + | |
| − | < | + | |- |
| − | < | + | | <ol style="margin-left:2em;" start="2"><li>Two talhos, and a thrust and a revez,<ref>A Revez is a backhand blow.</ref> entering and exiting.</li></ol> |
| − | < | + | | <p>2a Dos tajos, y una estocada y un revez, entrando y saliendo.</p> |
| − | < | + | |
| − | < | + | |- |
| − | < | + | | <ol style="margin-left:2em;" start="3"><li>Two talhos, entering, and two revezes exiting.</li></ol> |
| − | < | + | | <p>3a Dos tajos, entrando, y dos revezes saliendo.</p> |
| − | < | + | |
| − | < | + | |- |
| + | | <ol style="margin-left:2em;" start="4"><li>Three vueltas<ref>Vuelta could be a turn of the sword or the body, depending on context.</ref> of three talhos entering, and three revezes exiting.</li> | ||
| + | </ol> | ||
| + | | <p>4a Tres vueltas de tres tajos entrando, y tres revezes saliendo.</p> | ||
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| + | |- | ||
| + | | <ol style="margin-left:2em;" start="5"><li>Thrust and talho entering and thrust and revez exiting.</li></ol> | ||
| + | | <p>5c Estocada y tajo entrando y estocada y revez saliendo.</p> | ||
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| + | |- | ||
| + | | <ol style="margin-left:2em;" start="6"><li>Two talhos and a thrust turned backwards, and a revez entering and exiting.</li></ol> | ||
| + | | <p>6a Dos tajos y una estocada vuelta por las espaldas, y un revez entrando y saliendo.</p> | ||
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| + | |- | ||
| + | | <ol style="margin-left:2em;" start="7"><li>Three cenidos<ref>Cenido is probably analogous to the Portuguese cingido. I translated cingindo as circling in the Memorial, but there is likely more to it than that. Cegando is probably "sawing", meaning slicing not chopping (Capoferro uses this term as well), but it could also mean "blinding". Figueiredo doesn't give us enough info to clearly define it. I like firm-footed too, but in several traditions that term is used to describe a lunge, meaning that one foot is firm instead of both moving. That's my only reason for using "standing still".</ref> entering the turn with a talho and another three exiting, and the vuelta with a revez, this is to clear space.</li></ol> | ||
| + | | <p>7a Tres cenidos entrando la vuelta con tajo y otros tres saliendo, y la vuelta un revez, es para hazer plaça.</p> | ||
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| + | | <ol style="margin-left:2em;" start="8"><li>Three talhos and a thrust and a revez, and turning the back exit in the same manner, this is for a narrow street.</li></ol> | ||
| + | | <p>8a Tres tajos y una estocada y un revez, y vueltas las espaldas salir de la misma manera, es para una calleja angosta.</p> | ||
| + | |||
| + | |- | ||
| + | | <ol style="margin-left:2em;" start="9"><li>A talho and a thrust, entering, and exiting, this is guarding a cloak.</li></ol> | ||
| + | | <p>9a Un tajo y una estocada, entrando, y saliendo, es la guarda cappa.</p> | ||
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| + | |- | ||
| + | | <ol style="margin-left:2em;" start="10"><li>A cegando talho, and another falling, and a thrust and with your revez, entering and exiting. This is for a round plaza.</li></ol> | ||
| + | | <p>10a Un tajo cegando, y otro cayendo, y una estocada y con su revez, entrando y saliendo. Es para una plaça redonda.</p> | ||
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| + | |- | ||
| + | | <ol style="margin-left:2em;" start="11"><li>Two talhos one step after another moving the left foot first and turn with a thrust and revez, this is called the Bregua.</li></ol> | ||
| + | | <p>11a Dos tajos un passo tras otro metiendo el pie yzquierdo primero y volver con estocada y revez, es la Bregua que llaman.</p> | ||
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| + | | <ol style="margin-left:2em;" start="12"><li>Thrust moving the left foot forward and a talho standing still, and another moving the right foot with a revez while standing still, and the turns with a revez using the feet, this is for a wide street.</li></ol> | ||
| + | | <p>12c Estocada con saccar el pie yzquierdo y un tajo a pie quedo, y otra sacando el derecho con un revez a pie quedo, ylas vueltas con revez meneando los pies, es para une calle ancha.</p> | ||
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Revision as of 20:48, 27 May 2017
| Pablo de Paredes | |
|---|---|
| Born | date of birth unknown |
| Died | after 1599 |
| Occupation | Fencing master |
| Movement | Esgrima común |
| Language | Spanish |
Pablo de Paredes (Paulo de Paredes) was a late 16th century Spanish fencing master. Little is known of this master's life, but he seems to have been the Head Master of Arms (Maestro Mayor) to the royal court of Spain in 1599. There he instructed Jehan L'Hermite, a Belgian and one of the prince's tutors, in the use of the montante and double side swords. The only known record of Paredes' teachings is a passage in L'Hermite's memoir, which records twelve rules for the montante but indicates that he had forgotten the double sword teachings.
Contents
Treatise
Transcription | |
|---|---|
Rules or Canons of the Two-Handed Sword:
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Regles ou Canons de l’espée à deux mains. La primera, es de un tajo, y una estocada, entrando y saliendo. |
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2a Dos tajos, y una estocada y un revez, entrando y saliendo. |
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3a Dos tajos, entrando, y dos revezes saliendo. |
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4a Tres vueltas de tres tajos entrando, y tres revezes saliendo. |
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5c Estocada y tajo entrando y estocada y revez saliendo. |
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6a Dos tajos y una estocada vuelta por las espaldas, y un revez entrando y saliendo. |
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7a Tres cenidos entrando la vuelta con tajo y otros tres saliendo, y la vuelta un revez, es para hazer plaça. |
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8a Tres tajos y una estocada y un revez, y vueltas las espaldas salir de la misma manera, es para una calleja angosta. |
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9a Un tajo y una estocada, entrando, y saliendo, es la guarda cappa. |
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10a Un tajo cegando, y otro cayendo, y una estocada y con su revez, entrando y saliendo. Es para una plaça redonda. |
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11a Dos tajos un passo tras otro metiendo el pie yzquierdo primero y volver con estocada y revez, es la Bregua que llaman. |
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12c Estocada con saccar el pie yzquierdo y un tajo a pie quedo, y otra sacando el derecho con un revez a pie quedo, ylas vueltas con revez meneando los pies, es para une calle ancha. |
For further information, including transcription and translation notes, see the discussion page.
| Work | Author(s) | Source | License |
|---|---|---|---|
| Translation | Eric Myers |  |
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| Transcription | Charles Ruelens | Le Passetemps de Jehan L'Hermite |  |
Additional Resources
- L'Hermite, Jehan. Le Passetemps de Jehan L'Hermite. Antwerp: J. E. Buschmann, 1896.
References
- ↑ A Talho is a forehand blow.
- ↑ A Revez is a backhand blow.
- ↑ Vuelta could be a turn of the sword or the body, depending on context.
- ↑ Cenido is probably analogous to the Portuguese cingido. I translated cingindo as circling in the Memorial, but there is likely more to it than that. Cegando is probably "sawing", meaning slicing not chopping (Capoferro uses this term as well), but it could also mean "blinding". Figueiredo doesn't give us enough info to clearly define it. I like firm-footed too, but in several traditions that term is used to describe a lunge, meaning that one foot is firm instead of both moving. That's my only reason for using "standing still".
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